piia'H::, 





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LOVELY PEGGY 



LOVELY PEGGY 



A PLAY IN THREE ACTS BASED ON 
THE LOVE ROMANCE OF MARGARET 
WOFFINGTON AND DAVID GARRICK 



J. R. CRAWFORD 




NEW HAVEN: 
YALE UNIVERSITY PRESS 

MCMXI 






Copyright, 1911 

BY 

Yale University Press 



Printed from type. 750 copies. May, 1911. 
Dramatic and all other rights reserved 



Printed in the United States 



^C1.D 24 5V) 2 



PUBLISHER'S NOTE 



The play following- was submitted in a 
competition held by the Yale University 
Dramatic Association, 1910-1911, althoug-h 
it was ineligible for any prize award because 
of the fact that the author was a member 
of the University faculty. It is now, in 
response to many requests, published in 
book form throug-h the co-operation of the 
Yale University Dramatic Association and 
of certain graduates of the University. 



LOVELY PEGGY 



THE SCENES 



Act I. The Green Room, Covent Garden 
Theatre, October, 1741. 

Act II. The House in Southampton Street, 
November, 1742. 

Act III. The Stage of Covent Garden Thea- 
tre, some months later. 



CAST OF CHARACTERS 



Peg Woffington, leading actress of Covent Gar- 
den Theatre. 

David Garrick, a wine-merchant, and afterwards 
actor manager of Drury Lane Theatre. 

Sir Charles Hanbury Williams, a man of fash- 
ion. 

John Rich, manager of Covent Garden Theatre. 

James Quin, an actor of the old school. 

Charles Macklin, an actor and friend of Garrick. 

Tate Wilkinson, an applicant for a position on 
the stage. 

George Anne Bellamy, of Covent Garden 
Theatre. 

Dr. Samuel Johnson. 

Pompey, servant to Mrs. Woffington. 

Hodgson, Garrick's butler. 

A Servant at Covent Garden. 

A Scene-shifter. 

First Gallant. 

Second Gallant. 

Third Gallant. 

A Call-hoy. 

Gallants, men of fashion, members of the audi- 
ence, stage hands, etc. 



[4J 



LOVELY PEGGY 

ACT I 

Scene: The Green Room at Covent Garden 
Theatre, October, 1741. A large room, rather 
plainly furnished. There are three doors, two 
on the right and one on the left. Center, a 
fireplace and over it a portrait of Betterton. 
A bust of Shakespeare, a large oak cabinet, a 
plain table and a few chairs complete the fur- 
nishings. The room is lighted by candles. 
It is the night of a performance of Farquhar's 
"Constant Couple," in which Peg Woffington 
is playing the part of Sir Harry Wildair. 
Discovered: James Quin, a portly actor of the 
old school, and Miss George Anne Bellamy. 
Quin is a gruff, surly man, thickset and heavy, 
inclined to be taciturn but with sudden flashes 
of "Saturnine humor." George Anne Bel- 
lamy is a beautiful young actress with blue 
child-like eyes and golden hair. She is vain, 
self-conscious and affected. The adoration 
and flattery which her beauty has always met 
with has made her a spoiled child. Quin is 
pacing angrily up and down the room while 
Miss Bellamy is trying the effect of various 
feathers and trinkets in her hair. She poses 
continually before a large mirror. 

[5] 



LOVELY PEGGY 



Quin 
And I tell you again the town is mad ! They 
have no eyes for me when Peg Wofifington is 
on the stage ! No more applause for James 
Quin than if I were a puppet ! 

Bellamy 
Her impertinence amuses the vulgar taste. 

Quin 
Why, hark'ee, Mrs. Bellamy, — I knew Peg Wof- 
fington when she peddled oranges in the 
streets of Dublin — aye, and went barefoot, 
too ! Now, egad, not content with acting like 
a woman, she must needs act like a man ! Sir 
Harry Wildair ! What can an Irish orange 
wench know about acting Sir Harry Wildair? 

Bellamy 

It's vastly indelicate to wear breeches and play 
men's parts. 

Quin 

The impudent Irish-faced hussy ! Ah, Mrs. 
Bellamy, you should have seen Wilks play Sir 
Harry. There was a man! None of your 
damned mincing gait and squeaking pipe when 
he played it! 

Bellamy 
[Yawning.'] 
It must have been prodigious. — Er, Mr. Quin? 
[6] 



LOVELY PEGGY 



Quin 
Well? What is it? What is it? 

Bellamy 
Who was the handsome young gallant in the 
wings who tried to seize me as I came off 
tonight ? 

Quin 
Bah ! ■ D'ye think I've nothing better to do than 
note every coxcomb that smirks in a woman's 
face? 

Bellamy 
Dear Mr. Quin! He said that your acting was 
the marvel of the age. 

Quin 
He did, eh? Pooh — there are no critics left — 
they are all dead. In my day — 

Bellamy 
And he praised your grand pause. 

Quin 
Come, he's a young fellow of taste. Could it be 
Sir Charles? 

Bellamy 
Sir Charles? 

Quin 
Aye, Sir Charles Hanbury Williams — the wit 
and man of fashion he calls himself. He is 

[7] 



LOVELY PEGGY 



dangling after Woffington and has been these 
six months. 

Bellamy 
Dangling after the Wofifington woman — oh! 
Quin 

What did he say about my grand pause? Some 
clever epigram, I warrant you. 

Bellamy 
Oh, nothing. 

Quin 
What! Nothing! Why, you said — 

Bellamy 
I know — it was of no moment. 
Quin 

Madam, I tell you it was of the greatest possible 
moment. The approbation of Sir Charles 
carries with it the approval of the Town. 
What he says today — the Bedford Coffee 
House thinks tomorrow ! 

Bellamy 

I'll endeavor to recollect what it was. I know — 
your pause was marked by a dignity of bearing 
that — er — er — 

Quin 
Pray continue. Madam. 

[8] 



LOVELY PEGGY 



Bellamy 

That imparted majesty to the scene. It was 
something like that. 

Quin 

I shall treasure those words. Only two weeks 
ago I knocked the prompter down, madam, 
for interrupting my grand pause. 

Bellamy 
Oh! 

Quin 

Yes, madam, knocked him down. When I came 
to the great scene of the play — I paused to 
permit the effect to sink in. Then what does 
this confounded puppy of a prompter do, but 
commence bellowing my lines to me from the 
wings. I paid no attention at first. 

Bellamy 
Of course not. 

Quin 

Finally, madam, he fairly shouted at me and 
some jackanapes in the pit laughed. I strode 
up to him and knocked him down and then 
returned and finished the scene — after apolo- 
gizing to the pit for the interruption. 

Bellamy 

Serve him right. 

[9] 



LOVELY PEGGY 



Quin 

But what do these puppets know of acting to- 
day? In my day we understood the dignity 
that goes with such an art. 

[Going up to Bellamy and taking her chin in 
his hand.] 

You are young, child, and have a pretty face — 
don't let that spoil you as it has the Woffington 
woman. Learn to be an actress. It's" worth 
more than the poems the fine gentlemen in the 
boxes write you. 

[Enter John Rich, the manager, carrying a cat. 
He is dressed shabbily and has a coarse 
face. His accent is that of an uneducated 
man.] 

Rich 

There y'are. Two hundred pounds in the house 
tonight, — it's the Woffington woman draws the 
town. And I larned her to act myself. 

Quin 

Acting! Do you suppose it's acting the town 
comes to see? A pretty woman is all they 
want. Do they come to see me any more — me, 
James Quin? I can act as Betterton acted and 
there's not another man alive today can say 
that. And they laughed at my grand pause ! 
[10] 



LOVELY PEGGY 



Rich 

You lack distinction, Muster Quin. You should 
imitate my Richard III. 

Quin 
Bah! 

Bellamy 

I am convinced, Mr. Rich, that if you would 
display your talents once more before the 
town, we should all be censured for our short- 
comings. Compared to you, our acting must 
seem presumptuous. 

Rich 

Mrs. Bellamy — you're a prodigious fine woman, 
and, egad, for a female, you've good taste. 
[She curtsies to the ground with great for- 
mality and Rich attempts a clumsy bow in 

rctiirn.] 

Quin 
Pish ! The minx is only laughing at you, Rich. 

Bellamy 
Nay, I protest! 

Rich 
[His face changes — suspiciously.] 
I'll larn you to laugh at me, you French doll, — 
or you too, Quin. 

[IIJ 



LOVELY PEGGY 



Bellamy 
I vow, Mr. Rich, that I spoke in earnest. 

Rich 
Well,— well. 

[Enter a servant from the door R.] 

Servant 
[To Rich.] 
A young man to see you, sir. 

Rich 
To see me ? Tell him to go to the devil ! 

Servant 
Yes, sir. 

Rich 
Another scribbler — eh ! 

Servant 
He did not state his business, sir. 

Rich 
[To Quin.] 
I'll warrant you it's a playwright, — curse 'em! 

Quin 
And I'll wager it's a young spark to carry off 
Mrs. Bellamy here! 

Rich 
[To the servant.] 
What's his name? Eh? 

[12] 



LOVELY PEGGY 



Servant 
Garrick, sir — David Garrick. 

Rich 
[Laughs-I 
Egad — it's the Httle wine-merchant! 

Quin 
Aye, I hear he's turned strolling player — he's 
been at Ipswich this summer — 'faith, Rich, 
when the wine-merchants turn players,— 
there's naught left for us poor players to do 
but drink ourselves to death ! 

Rich 
[To the servant.] 
Tell Muster David Garrick I'm not wanting any 
port today. Eh, Quin ? 

[Rich laughs uproariously as the servant bows 
and goes out.] 

Quin 
The fool was sitting in the stage-box again to- 
night. He's another fly buzzing after Wof- 
fington. 

Bellamy 
But his eyes ! Have you marked Mr. Garrick's 
eyes? They are like fire! 

Rich 
You have marked his eyes, have you, eh ? What 
the devil have his eyes got to do with you ? 
[13] 



LOVELY PEGGY 



Quin 
[Chuckles.] 
That's the woman! 'Cod, to think they note the 
eyes of every mortal in the pit! 

Bellamy 
[Angry.] 

Mr. Garrick has sat every night in the same box 
since the season opened. Is it so strange that 
I have seen him ? 

Quin 

No, but it is that he has not seen you ! His eyes, 
I hear, are all for Mrs. Woffington. 

[Bellamy tosses her head.] 
Aye, you may quarrel for him between you, — 
he's a fine catch, what with his three quarts of 
vinegar and calling himself a wine-merchant, 
and his strolling acting. Much good will you 
get of him. 

Bellamy 

Brute! You judge women's minds, Mr. Quin, 
by your own. 

Quin 

Aye, and it has not led me into many errors, 
either. 

[The servant re-enters from the right, and 
comes forward.] 

[14] 



LOVELY PEGGY 



Servant. 

Mr. David Garrick, sir, presents his compli- 
ments and begs that you will grant him a brief 
interview. He wishes to become a member of 
the company at Covent Garden. 

Rich 

He does, eh? Then let him larn to act. Covent 
Garden Theatre has no need for wine-mer- 
chants or strolling players. Tell him to go 
home and drown himself in his own tun of 
wine. 

[Laughs boisterously. The servant bows and 
goes out of the door R.] 

Rich 

What would become of my theatre if I wasted 
my time on every coxcomb who thought he 
could act? Egad, 'tis trouble enough with 
those I have without adding to my stock. Eh ? 
[Enter the call-boy from the door L.] 

Call-boy 
Mr. Quin! First call for the epilogue. 

Quin 

[Going towards door.] 
Anon ! Must you make such a devil's own row ? 
Do you think I am deaf ? 
[15] 



LOVELY PEGGY 



[Goes out with call-boy, pinching the latter' s 
ear.] 

Bellamy 

Dear Mr. Rich ! Are you going to give me a 
nice part in the new play? A very nice part? 

Rich 

Aye, 'twill be good enough, I daresay. 

Bellamy 

Good enough ! Why, that's not half good 
enough ! I want a very big part, — dear Mr. 
Rich, — and you shall teach me how to act it 
as it should be acted ! 

Rich 
Girl, you're laughing at me! 
Bellamy 
[With extreme affectation.'] 
No, I am not, dear Mr. Rich, Would you ac- 
cuse me of wearing the hypocrite's mask ? 

Rich 
I am not a man to be wheedled by a pretty face. 

Bellamy 

But surely you must be sensible that, if I have a 
pretty face, as you say, the public will prefer 
it to one growing a little — shall we say — 



faded? 

[16] 



LOVELY PEGGY 



Rich 

Woffington has only been here a year, — she has 
only begun to profit by my lessons. 

Bellamy 

True. But does she ever allow you to be the 
cause of whatever merit she may possess? 
Does she show her gratitude to one who has 
been almost more than a father to her? 

Rich 

Aye, there's something in that. I heard them 
say at the Bedford Coffee House that Mrs. 
Woffington called me the Harlequin of cats — 

Bellamy 

There's gratitude for you! I've heard — but I 
won't talk scandalous gossip ! 

Rich 
What is it you heard? 

Bellamy 
Nay, I protest! I fear it would give offence — 

Rich 

You must tell me, madam! I won't submit to 
this plotting and scheming behind my back. I 
took that Irish wench out of a Dublin gutter 
and larned her to act and gave her nine pound 
a week to boot — and now she turns on me, 
sharper than a thankless tooth. 
[17] 



LOVELY PEGGY 



Bellamy 

I dreaded to make you angry by repeating it. 
But as there is nothing so base as ingratitude, 
so there should be no hesitation in laying it 
bare. Mrs. Woffington said that you were — 
please, I dare not say it — 

Rich 
[Clenching his fists.] 
Go on, Mrs. Bellamy! I am a philosopher! 

Bellamy 
[With concealed maliciousness.] 
Woffington called you an ignorant old fool! 

Rich 
[His voice trembling with rage.] 
Mrs. Bellamy, you shall have as big a part as you 
could wish. 

Bellamy 
[Curtseying.] 
I am deeply in your debt — nor will you find me 
lacking in appreciation. 

Rich 

You shall play Monimia in The Orphan — 
damme, I'll buy you a new dress for it — any- 
thing you want — we'll show the town and that 
Woffington woman there's some merit in you, 
Mrs. Bellamy. 

[18] 



LOVELY PEGGY 



Bellamy 

Your kindness overwhelms me! But I had 
hoped for some new part — The Orphan is a 
stock piece and will not draw the town at first 
— as a novelty would. 

Rich 

[Goes to a large cupboard, which he opens. 
Several dozen manuscripts, of all shapes 
and sizes, tumble on to the floor as he opens 
the door.] 

Here y'are — there's drama for you! 
[Points to the mass of manuscripts.] 

Bellamy 
What is that strange mountain of paper? 

Rich 

Plays — all of 'em — unacted plays — tragedies — 
comedies — operas — some of 'em have been 
there for years. 

Bellamy 

Heavens! Have you read all those plays? 

Rich 

I never read plays. Never read one in my life. 
But every poet and scribbler in town sends 
'em in. I only play what the fashionable peo- 
ple want. It's their money runs this theatre. 
Do these damned scribblers ever risk their 
[19] 



LOVELY PEGGY 



money? Not they — they haven't any. It's 
men Hke Sir Charles Williams that tell me 
what to play. It's their cash. But hark'ee, 
Mrs. Bellamy — I'd like to do ye a favor. If 
you can find a part there that suits ye, I'll put 
it on, damme if I don't ! 

[Mrs. Bellamy, with a little cry of delight, 
runs across the stage, and sits on the floor 
as she turns over the pile of manuscripts. 
Enter, at this point, from the door R., Sir 
Charles Hanbury Williams, a tall, hand- 
some man, with signs of dissipation in his 
face. His movements are languid but grace- 
ful. He steps rather deliberately and scru- 
tinises Bellamy through his eyeglass as he 
advances.] 

Rich 
[Bowing obsequiously.] 
Good evening, Sir Charles ! 

Sir Charles 

Confound you. Rich — take your litter of cats 

away! 

[To Bellamy.] 
Ah — Mrs. Bellamy — what a charming picture! 

Beauty choosing between comedy and tragedy. 

A worthy crown for each. 

[He bows and takes snuff.] 
[20] 



LOVELY PEGGY 



Bellamy 
[Rising and curtseying.] 
Flattery in a wit, Sir Charles! Fie! 

Sir Charles 

Flattery to you would be impossible, even were I 
capable of such a vice. Where beauty and art 
are so much in harmony — the truth proclaims 
itself. 
[Turns to Rich.] 

Our lovely Peggy is getting her accustomed ap- 
plause tonight — I hear. Her Sir Harry Wild- 
air has brought us in a tidy little sum, eh. 
Rich? 

Rich 

Two hundred pounds in the house tonight, Sir 
Charles. 

Sir Charles 

Ah — then we may announce it for the following 
week, may we not? 

Rich 

Why, sir, as for that — 

Sir Charles 

Come, come! I have promised Peggy. You 
would not have me break my promise to a 
lovely woman? Announce Mrs. Woffington in 
Sir Harry Wildair for next week, d'ye hear? 
[21] 



LOVELY PEGGY 



Rich 
Yes, Sir Charles. 

Sir Charles 

By the bye, Rich, — my lawyer has brought the 
sum you mentioned, — ahem ! He's ready to 
attend you. 

Rich 

The money for the new play? One thousand 
pounds — 

Sir Charles 
Yes, yes — the sum does not matter. Arrange 
that at your convenience. 

Rich 
I'll go to him straightway. 

Sir Charles 
Pray, do so, by all means. 

[Exit Rich through the door R.] 

Sir Charles 
[To Mrs. Bellamy.] 
Mrs. Bellamy, I have long sought this oppor- 
tunity to assure you of my devotion to your 
genius. 

Bellamy 
Your approbation, Sir Charles, is an honor, 
knowing as I do the excellence of your criti- 
cal taste. 

[22] 



LOVELY PEGGY 



Sir Charles 

[Coughs slightly as he flicks some snuff off a 
ruffle.] 
My critical taste, madam, as you are pleased to 
call it, is ever at the service of a beautiful 
woman. 

Bellamy 

Then I wonder, Sir Charles, if you would do a 
favor for me? 

Sir Charles 

[Looks at her sharply and comes a step 
nearer.] 
Any commands with which Mrs. Bellamy may 
honor me, I shall obey to the very letter. 

Bellamy 

You spoke to Mr. Rich about — about Mrs. Wof- 
fington ? 

Sir Charles 

There's the rub, is it? And what have you to 
say about Mrs. Woffington? 

Bellamy 

Will you persuade Mr. Rich to let me have a 
part suited to my talents ? Will you have him 
announce me in some new play? 
[23] 



LOVELY PEGGY 



Sir Charles 

Can you draw the town, madam, Hke our lovely 
Peggy? 

Bellamy 

I am as pretty as she is ! And I can act — I know 
it — I feel it ! What chance have I had in small 
parts — with Mrs. Woffington taking all the ap- 
plause ! All I wish is an opportunity. 

Sir Charles 

And if you fail, madam, have you ever thought 
of that ? Do you realize what it means to face 
the hisses of an angry audience? They spoil 
their favorites — but are without pity for those 
who fail to please. 

Bellamy 

I am prepared for that ! They shall listen to me 
as they do to Peg Woffington ! 

Sir Charles 

And if I grant you this favor, Mrs. Bellamy? 

Bellamy 

Sir, I will be your grateful servant — I'll do any- 
thing for you ! 

Sir Charles 

Anything! child — remember — when I grant my 
favors to the fair sex, I only grant them on 
[24] 



LOVELY PEGGY 



condition. Do not let us misunderstand one 
another. Are you prepared to pay a fair quid 
pro quo? 
[Coming close to her.] 

Bellamy 
[Shrinks back, then nerves herself.] 
Yes. 

Sir Charles 

[He looks at her steadily, then bows over 
her hand, which he kisses.] 
You shall have the next new play, madam, I'll 
see Rich tonight — and — er — I'll pacify the 
Woffington — I have a — certain — influence in 
that quarter. My chaise will call for you to- 
morrow — there is a charming little house and 
garden of which I am the owner — but it shall 
be wholly at your disposition. 
[As he again takes her hand and presses it 
fervently to his lips. Peg Woffington enters 
from the door R. She is dressed as Sir 
Harry WUdair, in white satin, closely fitting 
breeches, white silk stockings and black 
pumps, with red heels. Her coat is also of 
white satin trimmed with silver brocade. On 
her head she wears a small man's wig, but 
no hat. At her side hangs a light court 
sword. As she sees Sir Charles kiss 
Bellamy's hand, she dashes angrily forward, 
[25] 



LOVELY PEGGY 



drawing her stage sivord in her fury, and 
lunges at Sir Charles. He turns quickly, 
and coolly, with a deft motion, catches Peg's 
ivrist and presses it. As he does so, she 
drops the sword with a cry of pain. He 
puts his foot on the sword, releases her 
wrist and bows with extreme formal polite- 
ness. ] 

Sir Charles 
[With ironical sarcasm.^ 
You are behind the scenes now, my lovely 
Peggy, — and Sir Harry Wildair is but a 
woman after all. 

Peg 
[Panting with rage.] 
How dare you to presume to touch me ! 

Sir Charles 

[Picking up her sword.'] 
To prevent you from doing a mischief with this 

stage bauble. 

[Tests the blade, smiling, and bends it.] 
A pretty thing, — but, like a woman, a dangerous 

toy for the unskilled. 

Bellamy 

[Comes forzvard.] 
It may please you to know, Mrs. Wofifington, 
[26] 



LOVELY PEGGY 



that Sir Charles has promised me the next 
new play. 

Peg 

Never! I forbid it! Do you hear? Never! 
Never ! Never ! 

Bellamy 
[Laughs. '\ 

You forbid it? And pray by what authority? 

Peg 

By my own! I'll see Mr. Rich myself — I'll have 
you turned out of the theatre ! 

Sir Charles 
Can it be that lovely Peggy is jealous? 

Peg 

Not of this doll ! A silly, simpering French mil- 
liner! 

Bellamy 

At least you will allow that my voice doesn't 
squeak ! 

Sir Charles 

[Sits on table, thoroughly enjoying the quar- 
rel. 1 
Aye, Peg! She had you there! 

[37] 



LOVELY PEGGY 



Peg 

Her voice lacks all expression whatever! It is 
like the mechanical bird in Cox's Museum. 

Bellamy 

My art is womanly. / do not need to strut about 
in breeches and ape the men. 

Peg 

Aye, we know well enough that you do not dare 
to show the truth about your figure ! 

Sir Charles 

Egad, Peggy, you've settled for the squeaking 
voice! Eh, Bellamy? 

Bellamy 

Je m'en fie he! One cannot expect manners from 
an orange woman ! 

Peg 
Nor virtue in the French ! 

Sir Charles 

Nor love and charity on the stage, — you might 
add! Life is — 

Peg 

I don't care a farthing rush for life, or your sen- 
timents on this subject! 
[28] 



LOVELY PEGGY 



Bellamy 

Nor did the man who mimicked your voice 
from a box last night care for yours ! 

Peg 

Tate Wilkinson ! A beggar — a hanger on of the 
theatre — who thinks because he can mimic 
others that he can act himself. He dared to 
mock me last night — but he shall pay for it! 
If he has the audacity to present himself here 
again — I'll show you whether Peg Wofifington 
has any influence in this theatre! 

Sir Charles 

Tate Wilkinson is a clever boy. I am thinking of 
recommending him for a position here. He 
keeps the Bedford in a roar with his mimicry. 
It was a bold thing to do, Peg, to mock you to 
your face. I like his spirit. 

Peg 

I hope he will like mine! The mean, pitiful 
hound — 

Sir Charles 

Ah, Peggy, you do not hate as prettily as you 
love! 

Peg 

[Comes close to him.] 
Do you dare to speak that word to me — now ? 
[29] 



LOVELY PEGGY 



Sir Charles 

Caution would best become you, madam ! There 
are eager ears listening. 

Peg 

Perhaps you prefer to listen to this pert crea- 
ture? 
[Nods insultingly at Bellamy.] 

Sir Charles 
[Coolly.] 
And if I do? Strong diet may pall. 

Peg 
[Stamps her foot in a frenzy of rage.] 
You brute! You shameless libertine! You 
rake! 

[Sir Charles laughs heartily at this and slaps 
his knee.] 

Sir Charles 
You never acted better in your life, Peggy! 

Peg 

[Beside herself with jealous rage — rushes at 
Bellamy.] 
As for you ! 

[Seises Bellamy by the shoulders and shakes 
her violently. Bellamy screams. They 
struggle a moment, while Williams is un- 
[30] 



LOVELY PEGGY 



able to control his laughter. Peg's short wig 
comes off, and her hair tumbles down over 
her shoulders. Bellamy slips out of her 
grasp, and runs screaming from the room. 
Sir Charles stoops, picks up Peg's wig, and 
hands it to her with a bow.\ 

Sir Charles 
No gentleman should be seen without his wig! 
[Peg snatches it from him and begins to bind 
up her hair, panting with rage.] 

Peg 

Understand me, Sir Charles, after your conduct 
tonight there can be nothing further between 
us. I am done! 

Sir Charles 

Surely, you are not jealous of Bellamy? Have 
I ever reproached you with the young spark 
in the stage-box — at whom I've seen you cast 
glances more than once. Pray, permit me the 
same indulgence. 

Peg 
I have never spoken to Mr. David Garrick in my 
life. 

Sir Charles 
But you know his name. Perhaps you have seen 
a poem in the Gentleman's Magazine — to 
"Sylvia," by D. G. ? 

[31] 



LOVELY PEGGY 



Peg 

And if I have? Am I to be blamed for every 
fop that writes me verses? 

Sir Charles 

Ah, he wrote them to you? I was only aware 
that they appeared in a newspaper. 

Peg 
[Bites her lip with vexation.] 
This continual suspicion is intolerable. 

Sir Charles 
Because you have given me continual cause. 

Peg 

Then I intend no longer to grant you the right to 
question my actions. 

Sir Charles 

Agreed ! I long ago ceased to look for either 
gratitude or appreciation from you, madam. 

Peg 

Nor did I expect gentlemanly behavior from you. 
We are quits, at all events. 

Sir Charles 

Aye, quits, as you call it, Peggy! For the pres- 
ent — 

[32] 



LOVELY PEGGY 



Peg 
[Taking a trinket from her dress.] 
There ! 

[Throws it at his feet.] ■ 

Sir Charles 

Behold the tragedy queen ! You are much bet- 
ter in comedy, Peggy. 

[Enter a servant, followed by Tate Wilkinson, 
a poor and needy young man, who is making 
a vain search for a position as an actor.] 

Servant 

Mr. Tate Wilkinson desires to wait here to see 
Mr. Rich, if you please. 

Wilkinson 

[Comes forward — to Peg who has turned her 
hack.] 

If you have any pity — help me to get an inter- 
view with him. I can act — but I am starving — 

Sir Charles 

Come now, Peggy, what do you say? Here is a 
fellow-actor implores your pity. 

Peg 

[Turns around, her eyes flashing, and goes up 
to Wilkinson. ] 

[88] 



LOVELY PEGGY 



Mr. Wilkinson, your impudence to me last night 
is proof of your ignorance. When you mim- 
icked me in public, I commanded Mr. Rich 
not to give you any engagement whatever, not 
even of the most menial kind. You deserve 
neither charity nor pity, or my purse would 
have given you a dinner. I sincerely hope, in 
whatever barn you are suffered as an unworthy 
stroller, that you will fully experience the 
same contempt you dared last night to offer 
me. 

[With a flounce she turns from him and goes 
up stage, leaving Wilkinson crushed and de- 
jected.] 

Sir Charles 
Do you still desire to see Mr. Rich? 

Wilkinson 
No. I — I — . Ah, well, I will go. 

[Seeing that his case is hopeless, he walks 
slowly and sorrowfully aiuay and goes out 
the door R., followed by the servant.] 

Sir Charles 

Your reputation for charity, madam, will suffer, 
I fear. 

Peg 

I would have forgiven him anything but an in- 
sult upon the stage. Let him mimic me in 
[34] 



LOVELY PEGGY 



hole-and-corner coflfee-houses if he chooses — 

but not when I am playing at Covent Garden. 

[Enter, after a noise of talking and laughter 
off-stage, Quin, Macklin and Rich. Mack- 
lin is a portly man with a strongly lined 
face.] 

Quin 

[To Peg, boiving.] 
I wondered, when I heard the applause tonight, 

madam, whether the town admired more your 

art or your beauty? 

Peg 
The applause, which you confess to hearing, 
answered your question, sir, sufficiently. 

Sir Charles 
Have a care, Quin! The lady is not to be 
trifled with. 

Macklin 

Madam, your servant ! 

[Bows and kisses her hand. Turns to Quin.] 

Mr. Quin, because we aim today to hold the mir- 
ror up to nature, you should not censure act- 
ing which differs from the school with which 
you are familiar. 

Rich 
Macklin, you speak too damned familiarly on 
the stage. I don't like it. 
[35] 



LOVELY PEGGY 



Quin 

[To Macklin.] 
Sir, you may remember that I said your last 
comedy would be damned? 

Macklin 
Well, sirP 

Quin 

[Chuckling.] 

It was damned, — the public would none of it. 

Macklin 
Well, sir? 

Quin 

What do you think of my judgment in matters 
of the stage now? 

Macklin 
Why, I think posterity will do me justice. 

Quin 

I believe they will, sir, for now it's only your 
play that is damned ; but posterity will have 
the satisfaction to know that both play and 
actor met the same fate! 

Peg 

A truce — a truce. I am weary of all your pom- 
pous squabbles about plays and acting. I 
never bother my head about either, — and yet, 

[36] 



LOVELY PEGGY 



by the applause I received this evening, I 
verily think half the town believes me to be 
a real man. 

Quin 

Madam, the other half knows you to be a 
woman ! 

[Peg walks away in some confusion, while the 
others, even Macklin, roar.] 

Sir Charles 

Egad, Quin, you've performed a miracle! I 
wager you made the Irish girl blush! 
[Enter a servant from the door R.] 

Servant 
[To Rich.] 
The young wine-merchant to see you, sir, — Mr. 
David Garrick. 

Rich 

I'm busy — it's inconvenient. What the devil! 
I've sent him away twice tonight! 

Servant 

He instructed me to say, — begging your pardon, 
sir, that he intended to return until you did 
see him. 

Rich 
The confounded impudent puppy! 
[37] 



LOVELY PEGGY 



[To the servant.] 
You blockhead ! How dare you bring me such a 
message ? 

Peg 
[Comes forward. To the servant.] 
Show Mr. Garrick in, please. Mr. Rich will see 
him. 

Rich 

Zounds! — what — what's this? Do nothing of 
the kind ! 

Sir Charles 
Do you hear? Send him packing! 

Peg 
[To the servant.] 
You heard me. Show Mr. Garrick in! 

Servant 
Yes, madam. 

[Bows and retires hastily.] 

Rich 
[To Peg.] 
Would you defy me, madam, in my own theatre? 

Sir Charles 

Aye, — she would defy the devil in his, — and I've 
no doubt he owns one. 
[38J 



LOVELY PEGGY 



Peg 

Mr. Garrick is a young man of parts — and by 
reports from Ipswich where he lately played, 
will be a great actor. 

Quin 

Aye, he's been ogling you from the boxes, — 'tis 
all he needs to teach him to act. 

Sir Charles 

It is the neat little man who sits in the right hand 
stage-box? I know him, a low fellow — and a 
tradesman. 

Macklin 

Well, sir, and what if he were a tradesman? 

Sir Charles 
Oh, nothing, I assure you, — 'tis all one to me, 

[To Peg.] 
Madam, permit me to congratulate you upon — 

shall we say — your most recent admirer? 

Egad, if we could all escape our wine-bills so 

easily ! 

[Enter the servant from the door i?.] 

Servant 
[Announcing.] 
Mr. David Garrick ! 

[Enter David Garrick, a small, nervous, fussy 
man, with a diffident manner and a hesitat- 
[39] 



LOVELY PEGGY 



ing trick of speech. His clothes are neat 
and he obviously gives much attention to his 
dress, as far as his rather limited means will 
permit.] 

Garrick 

[Bows.] 

Madam — your servant! Mr. Rich, sir, I — I — 
I— 

Rich 
Don't eye me, sir! 

Garrick 
If I might make so bold, by your leave, sir — 

Sir Charles 
Pay your wine-bill, Rich, and send him away. 

Garrick 

I was not — not aware, sir, that I was addressing 
you? 

Sir Charles 

No? Do you see any offence in my conduct, sir? 

Garrick 
This is not the place to — to answer that question. 

Sir Charles 

I would have you know, sir, that I am not ac- 
customed to pick and choose where or how I 
talk to tradesmen. 



[40] 



LOVELY PEGGY 



Peg 

[Stepping between them.] 
Mr. Garrick is my friend, — and it is my wish 
that he be received accordingly. 

Sir Charles 

Pardon me, madam, I understood the young man 
was unknown to you — except — ah, of course — 
I was forgetting the stage-box and the poetry ! 
[To Garrick.] 

You are a critic, as well, I believe? A most ac- 
complished person, truly! Did you find the 
barns at Ipswich very draughty, sir? 

Peg 

If you persist in your insults. Sir Charles, Mr. 
Garrick may forget that he is a gentleman. 

Sir Charles 

Wine-merchants have short memories and long 
accounts. Pray, let the young man speak for 
himself, madam. 

Garrick. 

My business for the moment is with Mr. Rich, 

Peg 
Mr. Rich will grant you an interview. 

Sir Charles 

The Woffington is in command, Rich. Let us 

[41] 



LOVELY PEGGY 



withdraw and not interrupt so charming a 
tete-d-tete. 

Rich 
[Snarls.] 
I can't talk to him. I'm busy! 

Garrick 

Nevertheless, madam, I thank you for your 
courtesy. 
[Bows.] 

Peg 

Theatrical managers delight in making simple 
matters difficult. I was myself compelled to 
call upon Mr. Rich nineteen times before he 
would receive me. And yet, but for me, the 
season would have been a failure. Theatrical 
managers, Mr. Garrick, cannot see an inch 
beyond their noses, although their business is 
further off. 

Rich 
Well, well, what is it you want, Muster Garrick, 
eh? Come, come, sir, — don't keep me wait- 
ing. 

Garrick 
I have called to apply for a position in the 
theatrical company at Covent Garden. 

Rich 
Want to act, eh ? Ever done any acting, eh ? 
[42] 



LOVELY PEGGY 



Garrick 

This summer, sir, at Ipswich — I played a few 
small parts — not without success. 

Rich 
What were they, eh? 

Garrick 

Aboan in Oroonoko — and a few others. The 
season was a brief one. 

Rich 
[With scorn.] 
A strolling actor, eh? And what do you think, 
sir, a strolling actor could do at Covent Gar- 
den? This is the temple of the Muses, sir! 

Quin 
[To Garrick.] 
Neither your presence, sir, nor your personality 
possesses that dignity or decorum which is 
one of the first requisites for an actor. There, 
sir, on that wall is a portrait of Betterton. 
Look on that picture, sir, and then on this ! 
[Points to Garrick' s image in the mirror.] 

Garrick 
[Qiiietly.] 
I did not come here, Mr. Quin, to receive a les- 
son in acting, but to give one. 
[43] 



LOVELY PEGGY 



Quin 
What! Why, you — you — 

Peg 

I think I can vouch for the truth of Mr. Gar- 
rick's statement. If the reports from Ipswich 
may be trusted — coupled with a private ex- 
hibition of Mr. Garrick's which I once saw 
without his knowledge — 

• Sir Charles 

Private exhibition? Aye, I warrant the truth of 
the last. Rich ! 

[Slaps Rich on the back heavily to the latter' s 
obvious displeasure.] 

Peg 
[With dignity.] 
If you have exhausted your pleasantry, Sir 
Charles, Mr. Garrick will favor us with a 
recitation. 

Sir Charles 

Oh, by all means ! A recitation is the thing ! 
Damme, let's hear the wine-merchant decant 
his claret! 

Macklin 

Sir, I think you will allow that I am an actor not 
entirely without judgment? 
[44] 



LOVELY PEGGY 



Sir Charles 
I've always said, my boy, that it was a pity a 
clever fellow like you should be a player. 

Macklin 

What would you have me be, Sir Charles, a 
baronet ? 

Sir Charles 
Confound your impudence ! 

Macklin 
As I was on the point of observing, I would like 
to add my opinion in Mr. Garrick's favor, to 
that of Mrs. Woffington. What will you 
recite, Mr. Garrick? A passage from Richard 
the Third? 

Rich 
No — that's my part. I will not suffer a bungler 
to repeat my best part. 

Garrick 
There is a scene in Alexander the Great, or the 
Rival Queens, which I had thought would dis- 
play my talents. 

Quin 
Alexander the Little, I believe you to mean, sir? 

Sir Charles 

Permit me to suggest the gay Lothario! Or 

stay! Romeo to Mrs. Woffington's Juliet! 

[45] 



LOVELY PEGGY 



Peg 

[To Sir Charles.] 
You are vastly amusing, sir. 

[To Gar rick.] 
The Rival Queens is a somewhat heavy tragedy, 

Mr. Garrick — but if it must be tragedy? 

Garrick 
Aye, by all means. 

Peg 

You are the best judge. But a comedy scene? 

Garrick 

Impossible. I must show them the noblest talent 
first. 

Peg 

Shall we recite a scene together — it will encour- 
age you perhaps ? 

Garrick 
Madam, you put me infinitely into your debt. 
[Bows.] 

Rich 

Come, Muster Garrick, I can't be waiting here 
all night. 

Peg 
Help me to set the stage, Mr. Garrick! 

[Begins to rearrange the furniture with Gar- 
rick's help. Sir Charles looks on much 
[46] 



LOVELY PEGGY 



amused. Quin snorts and paces up and 
dozvn. Rich gases into space and Macklin 
beams encouragement.^ 

Peg 

Let me see ? Shall we try a scene from the fifth 
act? 

Garrick 
I leave it to your judgment, Mrs. Woffington. 

Peg 

ril play Roxana to your Alexander. H'm — 
H'm — no, that scene won't do. That chair 
should be over on this side, Mr. Garrick. Let 
us begin with the scene just after I have 
murdered Statira — you know the place? 

Garrick 

Certainly. You fling yourself at my feet, drip- 
ping blood, and plead for my love. 

Sir Charles 

That will scarcely give Mrs. Woffington an op- 
portunity to act. 

Peg 
[Ignoring the interruption.^ 
You spurn me and deliver the long speech about 
Alexander conquering the world. 
[47] 



LOVELY PEGGY 



Sir Charles 
Would you play Roxana in breeches, Peg? 

Peg 

That is easily remedied. I'll throw this cloak 

about me — 

[Picks up a cloak and drapes it over her.] 

and let down my hair. 

[She tosses her wig to one side, takes out 
some hairpins, shakes her head vigorously 
and her hair pours over her shoulders.] 

Peg 
Now — are you ready, Mr. Garrick? 

Garrick 
At your service, Mrs. Woffington. 

Peg 

Will you act as prompter, Mr. Macklin? Have 
you a text? 

Macklin 
Text ! I know the scene by heart. 

Peg 
[Mischievously.] 
Then take care you do not interrupt my grand 
pause ! 

[48] 



LOVELY PEGGY 



Quin 
Must we witness the mumming of this stroller? 

Macklin 
Silence, please ! Pray begin, Mrs. Woffington. 

Peg 

[Assumes the manner of Roxana and begins 
to declaim in the tragic sing-song of the 
day.^ 
Oh, take me to your arms ! 
In spite of all your cruelty I love you ; 
Thus on my knees for ever cling around thee, 

[Kneels at Garrick's feet.] 
'Till you forgive me, or 'till death divide us. 

Garrick 

[Assumes a more natural manner as Alex- 
ander.] 
Hence, fury, hence : there's not a glance of thine 
But like a basilisk comes wing'd with death. 

Peg 

[Same business.] 
Oh, speak not thus to one who kneels for mercy ! 

Garrick 
[Same business.] 

[49] 



LOVELY PEGGY 



Off, murderess, off ! for ever shun my sight ; 
My eyes detest thee, for thy soul is ruin. 
Repeated injuries have steel'd my heart, 
And I could curse myself for being kind. 
If there is any majesty above 
That has revenge in store for perjured love, 
Send, Heaven, the swiftest ruin on her head ! 
Is there not cause to put the world in mourning ? 
Burn all the spires that seem to meet the sky, 
And raze the battlements of all the world! 

[Sir Charles bursts into loud laughter at the 
conclusion. Then with elaborate politeness 
he raises Peg to her feet.] 

Sir Charles 

'Twas as good as a booth at Bartholomew Fair! 
'Twould do for a puppet show, eh. Rich? 

Rich 
You must larn how to act. Muster Garrick. 

Quin 

Egad, if you call that acting, Mr. Garrick, then 
we're all wrong. 

Macklin 

Aye, you may sneer if you will — but my only 
fear is that this young man will be spoiled, 
for he will have no competitor. 
[50] 



LOVELY PEGGY 



Garrick 

Must I speak an epilogue, Mr. Rich — and ask 
you to grant my suit? 

Rich 
It's soon spoke. No! 

Garrick 
What? But I— I— I— 

Rich 
No! ! Do ye hear? No! ! 
, [Rich stamps out of the room, muttering to 
himself.] 

Garrick 
[Crestfallen — turning toward Quin.] 
Perhaps you, sir, will be more lenient in your 
judgment? 

Quin 

It has seldom been my misfortune, sir, to listen 
to a person with less talent for the dramatic 
art! 

Garrick 
[Mimicking Quin's voice and manner.] 
Twelve of the clock and a fine night! All's 
well ! Dogberry hath said it ! 
[Quin suppresses a muttered oath and stalks 
from the room.] 

[51] 



LOVELY PEGGY 



Sir Charles 
[Coming up to Garrick.] 
In order to anticipate any more of your imper- 
tinent questions, permit me to assure you that 
your presumption in forcing your way in here 
is only what is to be expected from a person 
of your condition. 

[Bows to the others, and goes out, affecting 
to take snuff. Garrick, pale with rage, is 
restrained by Peg, who places her hand 
softly on his arm.] 

Peg 

Mr. Garrick, it would ill become you to quarrel 
with such a man, whose opinion rests upon 
malice — and jealousy. 

Garrick 
[Bowing humbly over her hand.] 
Mrs. Wofifington — I — I do not know how to find 
words which would convey suitably my 
thanks — 

Peg 
Then do not try. 

Macklin 
[Offers his hand.] 
Mr. Garrick, I have had no small experience on 
the stage, and my talents — such as they are, 
sir, have not gone unrewarded. I know an 
[52] 



LOVELY PEGGY 



actor when I see one, sir. I was a witness of 
your performances at Ipswich and I am ready- 
to wager my reputation, sir, on your success. 

Garrick 

You are very obliging, sir. 

Macklin 

And furthermore, I will lend you any assistance 
in my power to secure a London engagement 
for you. 

Peg 

And I will do the same! Mr. Giffard of Good- 
man's Field's Theatre is my friend — I will see 
him myself ! 

Garrick 
Madam— you — you overwhelm me. 

Peg 
[Assuming a broad Irish brogue.] 
Sure, I'm only after helping a fellow artist and 
it's a thousand pities ye're not Irish like my- 
self—or Mr. Macklin here. 

Garrick 

What can I say, Mrs. Woffington? After meet- 
ing with such rebuffs tonight, to be treated in 
this manner by you! I see the dreams of my 
life at last coming true! 
[53] 



LOVELY PEGGY 



Macklin 
[Coughs.] 
Then it's settled, my boy. Peggy here and I will 
try our hand with Giffard, and sure, there 
ought to be blarney enough between us to get 
you an engagement. 

Garrick 
Thank you, Mr. Macklin — really, I — I — 

Macklin 

Have you thought of a part for your first 
attempt ? 

Garrick 

Richard the Third I thought most suited to me. 
I would not like to begin with a part that did 
not fit my size. If the public expected one of 
your great hulking heroes — and then I were 
to step out — I would be laughed off the 
boards. 

Macklin 

You're right, Mr. Garrick. Richard the Third 
is the very thing for you. Perhaps I can find 
Giffard at the Bedford Coffee House tonight 
—I'll have a try! Madam, your servant. 
[Bows to Peg.] 
Mr. Garrick! 
[They bow.] 

[54] 



LOVELY PEGGY 



[Macklin goes out the door R. Peg sits 
archly on a corner of the table and swings 
one foot. She draws a piece of paper from 
the bosom of her coat and reads. ~\ 

Peg 
[Reads.] 
" If truth can fix thy wav'ring heart, 
Let Damon urge his claim ; 
He feels the passion void of art, 
A pure and constant flame." 
[Garrick starts when he first hears her, then 
recites, as she finishes:] 

Garrick 
[Reciting.] 
" Though sighing swains their torments tell, 
Their worthless love contemn, 
They only prize the beauteous shell 
But slight the inward gem." 

Peg 

It was you who wrote these verses to me then? 

Garrick 
Did you not observe the initials D. G. at the end? 

Peg 

And pray are you the only D. G. in London? 
[55] 



LOVELY PEGGY 



Garrick 

Mrs. Woffington, — if you knew how I have 
longed for this moment — to meet you face to 
face, — to hear your voice, to touch your hand ! 
[Seises her hand and kisses it.^ 

Peg 
[ Withdrawing her hand after a moment. ] 
You act too well, Mr. Garrick. How shall I 
believe you? 

Garrick 

Have I not proved my devotion? Those verses 
— which you have deigned to treasure — my 
nightly visits to the theatre to watch your 
acting, — to follow your every motion on the 
stage, — I've had eyes for none but you, — you 
must and shall believe me! 

Peg 

I thought it was devotion to the art of acting 
that brought you to the theatre? 

Garrick 

The art of which you are goddess, and I but the 
hum.ble worshiper at your shrine! 

Peg 
[Sighs. ^ 
Poor me ! The goddess is another being in the 
green room. Gods and goddesses — kings and 
[56J 



LOVELY PEGGY 



queens — we all meet and mingle here — and 
quarrel for our pitiful share of vanity. 
Applause is our kingdom — and its echoes soon 
die. 

Garrick 

Dear Mrs. Woffington — if you would but hear 

me! 

Peg 

[Smiles.] 
You forget. I am Sir Harry Wildair ! 

Garrick 

To me, a rose by another name. Pity me, most 
lovely Pegg}', for "pity's akin to love." 

Peg 

[Suddenly bursts into tears.] 
Have pity on me! 

[Recovering herself.] 
There! You may tell the town that you've seen 

Sir Harry Wildair shed tears. 

Garrick 
[Taking her hand again.] 
Forgive me if I wound you with my importuni- 
ties. Why did you weep? 

Peg 
Because I am a woman. 

[57] 



LOVELY PEGGY 



Garrick 
No better reason? 

Peg 

There is none. 

[A slight pause.] 
Tell me, what is your opinion of my acting?, 

Garrick , 

I beg of you to listen seriously to me! 

Peg 

Then answer my question. Are you so unskilled 
as not to know the value of flattery ? 

Garrick 
I cannot flatter you — I — 
Peg 
What do you say of my Sir Harry Wildair? 

Garrick 
I — I admire everything you do. 

Peg 
The truth — what is it? 

Garrick 
Your acting of Sir Harry is full of spirit, but — 

Peg 

I know that "but" ! — Go on ! I command you ! 
[58] 



LOVELY PEGGY 



Garrick 

But after all one knows you to be a woman. 
You do not play it as a man would. 

Peg 
The town does not agree with you. 

Garrick 

The town is the oracle of Delphi — and I speak 
the words of Cassandra. 

Peg 
[Half vexed and half amused.^ 
No man ever dared before to tell me to my face 
that I could not act! Only women have done 
that! 

Garrick 
You commanded me to speak the truth ! 

Peg 

And I hold to it. Pray continue. My Sir Harry 
Wildair is feminine. What next, Sir Critic? 

Garrick 

Ah, but I would not have you play it like a man ! 
I would not wish my Peggy capable of that! 

Peg 

Your Peggy! Has your effrontery no bounds? 

[59] 



LOVELY PEGGY 



Garrick 

It is the way I always think of you. The words 
sHpped out before I was aware. Forgive me. 

Peg 
[Softened.] 
It is granted if you will finish your criticism. 

Garrick 

Whenever I see a woman play a man's part, I 
think of what Dr. Johnson once said. 

Peg 
And what was that, pray? 

Garrick 

That it was very wonderful to see a dog walk 
upon his hind legs, although he did it very 
ill. But the marvel was he could do it at all. 

Peg 
[Getting off from the table.] 
I vow, Mr. Garrick, if frankness be a virtue — 
you will get your reward in Heaven ! 

Garrick 

Do not censure me for obeying your command. 

Peg 

You are vastly impertinent, sir ! I am not accus- 
tomed to the patronage of — of — 
[60] 



LOVELY PEGGY 



Garrick 
[Quietly.] 
Wine-merchants ? 

Peg 
Why, since you will have it so — yes. 

Garrick 
[Goes slowly toward door.] 
I am sorry that I gave offence where none was 
meant. But my sin was to believe that a 
woman meant what she said. Madam, I have 
the honor — 

Peg 

[Imperiously.] 

Stop! 

[Then with arch demur eness.] 
You have not said what you thought of me as 

Sylvia in The Recruiting Officer! 

Garrick 
[Returns with enthusiasm.] 
Thought ! I tried to utter my thoughts in those 
verses ! Ah, my lovely Peggy, I thought more 
than you could guess, — or have the patience 
to hear! The Comic Muse herself could not 
have better graced the part! As for your 
beauty— that, madam, touched my heart like 
some rare sunset seen at sea. But I fear I 
weary you — 

[61] 



LOVELY PEGGY 



Peg 

Tell me more! Ah, Mr. Garrick, what vain 
folk you must think us! But you cannot 
understand until you really become one of us, 
what praise means. There is a charm — a 
mystery in the art of acting which is indescrib- 
able. Out there in the pit sit unknown beings, 
— we make them laugh or cry at will — think 
of the power that means! Power over men's 
souls has something of divinity in it, and it 
is that power which the actor wields. 



And then? 



Garrick 
Peg 



[With sadness.] 

And then — this! 

[A gesture which includes the green room.] 

The doors are closed — the incense no longer 
floats upon the air — ^the offerings and the 
trappings seem cheap and tawdry — the glamor 
has gone — and "the rest is silence." 

Garrick 

[Deeply moved, takes her hand and kisses it.] 
Madam, you have proved what needed no proof 
to me — that you have a heart. The town in 
its ignorance says you are heartless. 

[62] 



LOVELY PEGGY 



Peg 
[A sudden revulsion seising her.] 
The town! Ugh, how I hate it! I am its toy — 
its plaything — to stroke one moment and cast 
aside the next. I hate it, / hate it! 

Garrick 

Then why not leave it all, dear Peggy, — come 
with me — and if love may serve you — 

Peg 

[Shakes her head smiling.] 
Leave the stage? No, Mr. Garrick — I have 
drunk too deep. I could not be happy without 
the music of applause ringing in my ears. 

Garrick 
[Kneeling.] 
Madam, I offer you love — devotion — all that a 
woman needs — 

Peg 

Some women — perhaps. But I must have more ! 

I must have life — free — free! You cannot 

cage me! 

Garrick 
Then you refuse to marry me? 

Peg 

[Looks at him with an odd expression.] 
[63] 



LOVELY PEGGY 



Marry you? You offer me marriage? Are you 
in earnest? 

Garrick 
Never more so, dear Margaret. 

Peg 
[Shudders.] 

To marry me — the Irish beggar girl that sold 
oranges in the streets of Dublin ! — Do you 
know, Mr. Garrick, many men have talked of 
love to Peg Woffington — but you are the first 
who ever made honorable love to me! 
[Covers her face with her hands.] 

Don't ! Don't ! 

Garrick , 

[Putting one arm around her gently.] 

It is not too late. The future lies before us — so 
what does the past, that's gone, matter? I 
love you, dear. 

Peg 
[Looking up at him, her eyes shining.] 
Do you? 

Garrick 



[Solemnly.] 
Yes. 



Peg 



[With decision.] 
Then I'll never marry you, Mr. Garrick. 
[64] 



LOVELY PEGGY 



[Garrick sorrowfully releases her and goes, 
with uncertainty, toward the door. Peg 
ivatches him closely.'] 

Peg 
\As he reaches the door.] 
David ! 

[He turns and seeing the expression on her 
face, rushes to her. They embrace.] 

Peg 

I can't let you go, David! Ah, sure, I think it's 
your blarney caught poor Peg Woffington! 
[He kisses her on the mouth.] 



QUICK CURTAIN 



[65] 



ACT II 

Scene : The house in Southampton Street, 
November, 1742. A large room of the period. 
The furniture is of the time of Queen Anne 
and must not he confused with the furniture 
and decoration of the latter half of this cen- 
tury. The severely simple interiors of Adams 
had not yet come into fashion, and there is 
a rococo touch in the ornaments. L. placed 
diagonally across the corner of the room, a 
lady's dressing table with mirror. The center 
of the stage is occupied by a large mahog- 
any table. R. an open fireplace zvith easy 
chair. R. doors to inner rooms, L. door to 
passage and street. At rear, two zvindows, 
through which one gets a vista of tiled roofs 
and chimney pots. Over the fireplace hangs 
Hogarth's portrait of Peg Woffington, and on 
the mantlepiece are two Chelsea-Derby por- 
celain sphinxes with Peg Woffington's head 
replacing the usual sphinx's head. For a 
general idea of the style of this room, see 
Aubrey Beardsley's illustrations of Wycher- 
ley's "Country Wife." The period illustrated 
is, of course, before this time, but it is assumed 
that this house has been built some time, and 
that the interior has remained unchanged, as 
is the case with many English houses today. 
It is just before early candle-light. When the 
[67] 



LOVELY PEGGY 



curtain rises, Peg is seated before the dressing 
table putting the finishing touches of rouge 
and powder on her face. Garrick, with a 
great pile of papers before him, is seated in 
front of the fire, in the easy chair. 

Garrick 

Peggy, the critics have surrendered! Listen to 
what they say of me ! Eh, are you attending ? 

Peg 

Do you like my eyebrows in this fashion? 

Garrick 

Zounds, madam, when I talk to you of my 
triumphs — you retort with an eyebrow ! 

Peg 

I was forgetting. You have ceased to sigh like 
a furnace and are now seeking the bubble 
reputation. My eyebrows are of no conse- 
quence. 

Garrick 

{Rises and crosses to her.] 
Ah, my love! You are cruel. You are and 
always v/ill be my lovely Peggy. 

Peg 
[She looks up at him relenting.] 
David ! 

[68J 



LOVELY PEGGY 



[Caressing him.] 
You shall tell me everything they say of you. 

[They cross with their arms around one 
another's waists and Garrick sits in the 
easy chair by the fire, zvhile Peg sits on a 
little stool at his feet, her chin in her hands, 
looking into the firelight.] 

Garrick 

This is what the Daily Post has to say of me, 
Peggy. 
[Reads.] 

"His reception was the most extraordinary and 
great that was ever known on such an occa- 
sion." Aye, it was, too, Peggy — a dozen dukes 
at the least computation heard me last night. 

Peg 
A graceftd tribute, David. 

Garrick 
Now for the Champion. 

[Takes up another newspaper.] 
"Mr. Garrick's voice is neither whining, bellow- 
ing, nor grumbling, but natural in its cadence." 
I must show that to Quin, Peggy. Mark, it 
says "natural" ; — none of your bellowing, Quin, 
my boy ! 

[69] 



LOVELY PEGGY 



Peg 

You will not convince Quin as easily as you have 
the town. 

Garrick 

[Taking up a paper.] 
Here's another ! "There was not one in the house 
that was not in raptures, and I heard several 
men of judgment declare it their opinion that 
nobody ever excelled him." Note — it was 
men of judgment who said this, Peggy. 

Peg 
We call them that when they praise us. 

Garrick 
Tush, they are all skilled critics, Peg. See this ! 
[Points to a passage in the paper.] 

Peg 
[Reads.] 
"We are surprised, with so peculiar a genius, 
how it was possible for him to keep off the 
stage so long." Ah, David, it makes me 
almost wish you were not a genius. 

Garrick 
[Shocked.] 
And why, my love? 

[70] 



LOVELY PEGGY 



Peg 

You will think me very foolish, David, — but it 
all makes me a little jealous. 

Garrick 

What absurdity! Am I jealous of your fame, 
Peggy? Have I complained because you are 
the greatest actress in England? 

Peg 

No — I almost wish you had! Ah, I know it is 
nonsense I am talking! But, David, when I 
think of two famous people living together 
in the same house, it frightens me. There's 
scarce room left for love. 

Garrick 

But think how unjust you ,are! You would 
only have one of us famous — and that would 
have to be yourself, — since you were famous 
before we met. This is selfish of you, Peggy. 

Peg 
I suppose it is, David, and yet — 

Garrick 

And yet! Would you give up your fame, — 
would you leave the stage for my love when 
I entreated you to do it? 
[71] 



LOVELY PEGGY 



Peg 
[Softly.] 
No, — the theatre is in my very blood! I was 
almost born to it. I remember as a child in 
Dublin, when I was almost a beggar — I sold 
oranges and salad in the streets then, David — 
one day I passed a little booth and I paid away 
the penny I should have taken home, to see 
the show inside. A Frenchwoman — Madame 
Violante she called herself — was performing 
on the tight rope! I gaped in open-mouthed 
wonder until she spied me. I was even 
prettier then than I am now, David, although 
I was barefooted and in rags. 

Garrick 

You could not have been more beautiful, Peggy 
— I won't allow that! 

Peg 

She asked me if I would like to join her troupe. 
It seemed as if Heaven was opening before 
my eyes, — to escape from the life of misery 
and want — to wear spangles and pretty clothes 
instead of rags — to dance in a glitter of light 
instead of crawling home to a dark hovel ! 
From that hour the theatre became my very 
life, — I have given it even my soul, and you 
ask me to leave the stage! 
[72] 



LOVELY PEGGY 



Garrick 

No, no, Peggy, I see it is impossible, — but why, 
then, complain of my fame? 

Peg 

Because the theatre did not seek you out; be- 
cause even with all your fame you are not yet 
a part of it. You had another life, — you could 
have been happy without it — 

Garrick 
No, Peggy, it was stronger than L 

Peg 

That is why I am jealous of it! It is going to 
stand between us, David! As your fame 
grows greater and greater, my love will mean 
less and less to you. 

Garrick 

Never, Peggy, on my faith and honor! You 
shall always be the first object of my life. 

Peg 
[Shakes her head and smiles.] 
David — you do not understand, — you do not 
realize its power. 

Garrick 
I will prove to you that I am right. 
[73] 



LOVELY PEGGY 




Peg 


Then will you marry me, David, at once? 




Garrick 


If you insist 


! 




Peg 


[Rising.] 




If I insist! 






Garrick 



Nay, I mean if it will make you happier, Peg. 
Listen to me, my love. At first I could not 
marry you — until my means were equal to 
yours — you agreed to that? 

Peg 
Yes. 

Garrick 

And now I have hesitated to disturb our idyl. 
We are so happy — could any ceremony do 
more for us than our love has already done? 

Peg 
I want to feel that you are mine! 

Garrick 

There is nothing in this world that can make 
our love more true. 

[74] 



LOVELY PEGGY 



Peg 
In that case, you will not deny me what you 
consider so small a favor? 

Garrick 

'Faith, Peggy, I have all along intended this very 
thing; nay, let me convince you. 
[Goes to a desk up stage R., opens a drawer 
and takes out a little hox.^ 

Garrick 
[Coming down stage again.] 
Guess what I have here, Peggy! 

Peg 
[Fingering a miniature which hangs by a 
chain about her neck.] 
Some trinket, another miniature perhaps, — to 
soothe me like a petulant child! 

Garrick 

You wrong me. Peg. It is not a miniature this 
time — though, 'faith the one you have is a 
token of our first love. It's the very ring 
itself ! 

David ! 



Peg 



Garrick 
Aye — now you are well punished for your 
doubts ! 

[75] 



LOVELY PEGGY 



Peg 

Oh, forgive me, David, forgive me! I am so 
happy ! 

Garrick 

Will you try the ring on to see if it fits? 

Peg 

It's bad luck to do that! Measure my finger 
with a bit of string. 

Garrick 

Nonsense, — do you still believe in these Irish 
fables? . 

Peg 
[Crosses herself.] 
Hush ! 

Garrick 
Come, let me put it on your finger, Peggy! 

Peg 

Will you promise to keep away the bad luck, 
David? 

Garrick 
[Draws her to him.] 
No harm shall ever come to my Peggy. 

[Slips the ring on to her finger. She shivers 
and bursts into tears.] 
[76] 



LOVELY PEGGY 



Peg 
I am frightened, David ! 

Garrick 

Be reasonable! What harm can there be in it? 
To punish you for such superstitions, — you 
must wear it all the evening. It will proclaim 

. my resolve to our guests tonight. 

Peg 

Our guests ! You've made me so happy I had 
forgotten them. Where's Pompey? I must 
dress me quickly — or I shall be too late! 
[Runs to a bell cord and pidls it. Enter a 
little black boy in Oriental dress.] 

Peg 

Quick, Pompey! Tell Hodgson to prepare the 
table at once! And, Pompey — fetch the 
candles. 

Pompey 
Yes, madam. 

[Boivs and goes out.] 

Garrick 

I hope you have not been extravagant in your 
preparations ? 

Peg 

What does it matter this once! Think of the 

[77] 



LOVELY PEGGY 



occasion — to celebrate your fame — and this, for 

me! 

[Holds up her finger with the ring on if.] 

Garrick 

Still we must not let the money run away at too 
fast a pace. 

Peg 

It is my turn to pay the bills this month, David, 
and I promise you shall never even see them. 
Do not be uneasy on that score. 
{Hastily tidies up the room.] 

Peg 
{Stopping suddenly.] 

David — I had almost forgotten something im- 
portant ! Happiness drove it out of my head. 
{Goes to dresisng table.] 

See — I have a present for you — a gift to bring 
you luck, because I bought it to mark your 
success at Drury Lane. 
{Opens box.] 

Diamond shoe buckles! 

Garrick 
Diamonds ! Peggy, you'll be ruined ! 

Peg 

I bought them with my own salary — twenty Sir 

[78] 



LOVELY PEGGY 



Harry Wildairs went to the making of them, 
— but what did I care, if they were for you ! 

Garrick 
[Takes them and kisses her.] 
My child! You are recklessly extravagant! 

Peg 

Don't scold me! 

Garrick 
Scold you? I can forgive you anything, Peggy. 

Peg 

[Slowly, her mood changing suddenly.] 
There's another reason why your ring has made 
me so happy. 

Garrick 
What do you mean? 

Peg 

You must protect me now, David, from the im- 
portunities of the green room loungers. Sir 
Charles has never ceased his — his attentions. 
He follows me — oh, it's intolerable, David! 
I did not care to speak of it until you gave me 
this. I had no claim on your protection. But 
you must help me, David — you must save me 
from myself ! 

[79] 



LOVELY PEGGY 



Garrick 
[Gravely.] 
I am glad you told me. When did you see Sir 
Charles last? 

Peg 
Oh, not for an age ! 

Garrick 
And when was that? 

Peg 
This — this morning — at rehearsal. 

Garrick 
This morning ? You said it was an age ! 

Peg 
[Demurely.] 
It seemed so, David — because I didn't see you all 
day! 

Garrick 

Leave it all to me, my love. I will see that you 
are spared further annoyance. 
[Enter Pompey with silver candelabra con- 
taining lighted candles. He places them 
about the room. Hodgson, the butler, fol- 
lows him and they begin to prepare the 
table.] 

Peg 
[Curtseying with mock formality.] 
[80] 



LOVELY PEGGY 



Will Mr. David Garrick excuse me while I go to 
put on another dress. 

[He bows in return, and she runs, laughing, 
out the door, R.] 

Garrick 
[To Pompey.] 
Snuff that candle, Pompey. Can't you see it is 
burning wastefully? 

[Pompey obeys. Garrick scrutinises the ar- 
rangement of the table.] 

Garrick 
Sweetmeats, Hodgson, for supper! 

Hodgson 

Mrs. Woffington's commands, sir. 

Garrick 

Lord, what extravagance ! Remember, Hodg- 
son, when it is my month to pay the bills, you 
are on no account to serve sweetmeats at 
supper. 

Hodgson 
Very well, sir. 

[A loud knocking is heard at the outer door.] 

Garrick 

Show the gentleman in here directly, Hodgson. 
[81] 



LOVELY PEGGY 



Hodgson 
Yes, sir. 

[He goes out and returning, ushers in Charles 
Macklin.] 

Macklin 

Ah, Davy, my boy ! And how does it feel to be 
famous, sir? 

Garrick 

To tell the truth, Macklin, it feels very little dif- 
ferent from being a wine-merchant. 

Macklin 
[Sits in front of the fire and warms his 
hands.] 
Aye, there's no end to either position. By the 
bye, Davy, where's Mrs. Wofifington? 

Garrick 
She will join us later. 

Macklin 
Well, I confess that I hardly expected Peg to 
turn out a pattern of domestic virtue, eh, 
Garrick ! 

Garrick 
Sir, I do not know what you mean. 

Macklin 
Only the impertinence of an old friend. How 
long is this — er — to continue? 

[83] 



LOVELY PEGGY 



Garrick 

Upon my word, sir, you take strange liberties 
with our friendship. 

Macklin 

No offence, Davy, no offence! You have been 
living together about six months now? 

Garrick 
Ever since we began the season together in 
Dublin last summer. 

Macklin 
Ah. You saw nothing of Sir Charles Hanbury 
Williams in Ireland, I presume? 

Garrick 
Damme, Macklin, what are you driving at? 

Macklin 
My boy, when you have been on the stage as 
long as I have, — why, you will not have so 
many illusions left. You believe seriously that 
this woman loves you? 

Garrick 
Yes. Whatever she may have been once, she is 
now the soul of honor. 

Macklin 
Davy, beware the leopard's spots! 'Tis not the 
animal intended for domesticity. 
[83] 



LOVELY PEGGY 



Garrick 
Confound your cynicism, sir! You — you — 
you've quite spoiled my temper. 

Macklin 
Tush ! Take care, Davy, that you don't spoil 
your whole life. 

Garrick 

The lady against whom you are trying to poison 

my mind, sir, is going to become my wife! 

Macklin 
[Jumps up.] 
Good God, Davy ! Are you serious ? 

Garrick 
Never more so. 

Macklin 
In that event, I will say no more. 

[Offers his hmtd.] 
I trust that you will never have cause to repent 

your judgment. 

[Garrick takes his hand.] 

Garrick 
Are you keeping anything back from me, 
Macklin? 

Macklin 
Nothing positive. Only some advice which you 
do not seem inclined to take. 
[84] 



LOVELY PEGGY 



Garrick 
You have no assertion which you are prepared 
to prove? 

Macklin 
None but gossip — and you know the value of 
that as well as L But if Hamlet were here 
today instead of "frailty, thy name is woman," 
he would say, "frailty, thy name is Woffing- 
ton!" 

Garrick 
Change it to "was" and I grant it. 

Macklin 
Sir Charles was at the rehearsal this morning — 
during your absence. 

Garrick 
She has already told me that — and begged me 
to protect her from his unwelcome attentions. 

Macklin 
The clever Irish jade! Davy, I'm a descendant 
of an Irish king myself, and know my own 
country-people as no Sassenach ever can. 
And beware of blarney in whatever form you 
find it. 

Garrick 

Mr. Macklin, only our long friendship and your 

age has made me listen to you with patience, 

but the latter is fast becoming exhausted. 

[851 



LOVELY PEGGY 



Macklin 

My only defence is my interest in your welfare. 
I shall continue to have that admiration for 
Mrs. Woffington which I have always shown 
her. You need not be uneasy — and I'll con- 
tradict the malice of the town whenever I 
hear it. 

Garrick 
A glass of wine, sir? 

Macklin 
[Rising.] 
Sir, if you please ! 

[Garrick pours two glasses of wine and they 
drink to one another with great solemnity. 
A loud knocking is heard, off, and in a 
moment Hodgson ushers in Dr. Samuel 
Johnson.] 

Hodgson 
[Announcing.] 
Dr. Samuel Johnson. 

[The latter enters noisily, puffing and stamp- 
ing his feet. His hat he hands to Hodgson, 
but his heavy stick he keeps zvith him.] 

Garrick 

Sir, welcome to my hpuse. This, sir, is Mr. 
Macklin, of whom you have heard me speak. 
A fellow actor and comedian. 

[86] 



LOVELY PEGGY 



Johnson 

Sir, fortune has tempted you to a luxury not 

becoming your position in society. 

[Surveying the room.] 
When I came up to London with Davy, I had 

only twopence halfpenny in my pocket. 

Garrick 

Eh? What do you say? With twopence half- 
penny in your pocket? 

Johnson 

Why, yes ; and thou, Davy, with three halfpence 
in thine. 

Garrick 

You do not allow, sir, any reward to merit? 
Johnson 

Why, yes, sir, I do. But a stage player has no 
merit. He is a parasite. You exist by repeat- 
ing the thoughts of others and have none of 
your own. You have a kind of rant, with 
which you run on, without any regard either 
to accent or emphasis. 

Garrick 

Sir, Mr. Macklin and myself I hold to be better 
judges of this art than you. 
[87] 



LOVELY PEGGY 



Johnson 

Well, now, I'll give you something to speak, with 
which you are little acquainted, and then we 
shall see how just my observation is. Let me 
hear you repeat the ninth Commandment. 

Garrick 

"Thou shalt not bear false witness against thy 
neighbor." 

Johnson 

Wrong, sir! Wrong! The accent should come 
equally upon the words "shalt" and "not." 
[Chuckles and stamps with his cane^] 

You are not too old to take a lesson from me 
still, Davy. 

Garrick 

You must come to the green room more often 
that we may benefit by your critical taste. 

Johnson 

Nay, Davy, I'll come no more to your green 
room. The white bosoms and silk stockings 
of your actresses arouse my amorous spirit. 
[He renews his survey of the room. Picks 
up a handsome china cup on the table. 'I 

Garrick 

Pray, be careful, sir, of that cup, as you are not 
accustomed to handling fine china. 
[88] 



LOVELY PEGGY 



Johnson 
[Dropping it and letting it smash.'] 
Sir, I smashed your cup as a lesson to you that 
such things have no value in themselves but 
only a fictitious worth which vanity gives 
them. 

[Stamps over to the mantle piece and takes 
the china sphinx with Peg Woffington's 
head on it off the shelf.] 

Garrick 
Sir, I implore you not to break that as well ! 

Johnson 
[Holding it up and looking at it critically.] 
I have too much respect, sir, for a woman to 
imperil even her image. A very good likeness 
of Mrs. Woffington! 

Macklin 

Aye, these china figures are the fashion at pres- 
ent. And Mrs. Woffington decrees the fash- 
ion for all the town. 

Johnson 

And Davy here appears to follow all of its 

decrees ! 

[Changing the subject — to Garrick.] 
Sir, have you perused my play? 
[89] 



LOVELY PEGGY 



Garrick 

[Goes to the desk and returns with a manu- 
script.] 
Dr. Johnson, I have studied your tragedy 
"Irene" carefully and regret that, in its pres- 
ent form, it is not possible to produce it. 

Johnson 
How not possible? 

Garrick 
I mean without certain alterations. 

Johnson 

Alterations, sir? I will never consent, sir, to 
any alterations whatever. 

Garrick 

I would suggest that if Mahomet were to go 
mad at last — and if a new title could be 
found — 

Johnson 

Sir, I will not listen to you ! 
[To Macklin.] 

I cannot bear that my tragedy should be revised 
and altered at the pleasure of an actor. Sir, 
the fellow wants me to make Mahomet run 
mad, that he may have an opportunity of 
tossing his hands and kicking his heels in 
playing it. 

[90] 



LOVELY PEGGY 



[A knock at the door, off. Enter Hodgson, 
followed by James Quin and George Anne 
Bellamy.^ 

Hodgson 
[Announcing.] 
Mrs. Bellamy! Mr. Quin! 

[They enter and exchange greetings. Pom- 
pey enters bringing more candles.] 

Garrick 
Pompey, inform your mistress that our guests 
await her pleasure. 
[Pompey goes out door, right.] 

Quin 
[To Garrick.] 
Sir, I felicitate you upon your triumph and 
trust that the past may be forgotten. 

Garrick 
With all my heart! 

[They bow. Enter Peg Woffington, radiantly 
beautiful in a magnificent dress. All turn 
to greet her.] 

Macklin 
Madam, your devoted slave! 

[Kisses her hand. Quin does the same.] 

Bellamy 
[Embracing her.] 
Ma chere! How beautiful you are! 
[91] 



LOVELY PEGGY 



Peg 

What a superb dress, my dear! Such charming 
taste ! 

[Dr. Johnson alone remains seated. Peg 
goes to him.] 

Peg 

Dr. Johnson, Mr. Gar rick and I are indeed 
honored by your visit. 

Johnson 
Madam, the honor is of small consequence. 
[Hodgson enters.] 

Hodgson 

[Announcing.] 

Supper is served. 

[Peg seats herself at the head of the table, 
with Dr. Johnson on her right. Garrick 
is at the other end, with Mrs. Bellamy next 
to him. Macklin and Quin are betzveen 
Bellamy and Dr. Johnson, facing the au- 
dience. Hodgson and Pompey together 
serve the supper. A large silver tea-urn is 
placed in front of Peg.] 

Quin 

Faith, Pm vastly sorry, Macklin, that your last 
comedy didn't bring you more pleasure and 
profit. 

[92] 



LOVELY PEGGY 



Macklin 

I'm much obliged, but the pubHc taste has been 
spoiled for originality by the plagiarized rub- 
bish forced down its throat. 

Garrick 

When may we hope to have a comedy from your 
pen, Quin? 

Quin 

What is the use of my writing a comedy, when 
we have no actors today to play it? 

Macklin 

Why, there's Garrick here and myself — not to 
mention the ladies — 

Quin 

I know your dramatis personcp well enough, but 
damme, where are your actors? 

Peg 

A cup of tea, Mr. Quin? 

Quin 
Madam, with pleasure. 

[The cup is passed to him.] 

Johnson 

Sir, may I ask you if the world revolves around 
the stage? 

[93] 



LOVELY PEGGY 



Garrick 
Why, sir, what do you mean? 

Johnson 

To listen to the conversation since coming to 
this house one would think so. Whereas a 
player, sir, is a fellow who claps a hump on 
his back, and a lump on his leg, and cries "I 
am Richard the Third." 

Peg 
Dr. Johnson, may I offer you a cup of tea? 
[He boivs and she hands him a cup.] 

Macklin 
[To Johnson.] 
And where, sir, is your friend Mr. Boswell this 
evening ? 

Johnson 
Sir, I came to this house for relaxation. 

Bellamy 

Dr. Johnson, it seems wonderful to me that a 
man could think of enough words to make a 
dictionary. 

Garrick 

Madam, it took forty Frenchmen to write a 
dictionary of that language : 
[94] 



LOVELY PEGGY 



Talk of war with a Briton, he'll boldly advance 
That one English soldier will beat ten of 

France ; 
Would we alter the boast from the sword to 

the pen, 
Our odds are still greater, still greater our men ; 
And Johnson, well arm'd like a hero of yore. 
Has beat forty French, and will beat forty 
more! 
[All applaud and Johnson, who is not deaf to 
flattery, is obviously pleased.] 

Quin 
[To Garrick.] 
Sir, did you make that up extempore? 

Peg 

Mr. Quin, epigrams are like woman's beauty — 
they should be judged by their effect. Let the 
source of both remain a mystery. 

Macklin 

In that case, madam, you forbid us to ask 
whether nature or art is the more important? 

Peg 

For the making of epigrams? 

Macklin 

No, madam, for a woman's beauty. 
[95] 



LOVELY PEGGY 



Peg 

Nature gives us the garden, but art waters it, 
sir. 

Quin 

Dr. Johnson, sir, what is your opinion of our 
dramatic critics? 

Johnson 

Why, sir, that a critic may spend his time more 
profitably "in his Hbrary than at the theatre. 

Macklin 

Critics? There are a few doers of news- 
papers, who call themselves critics, that may 
still be found in upper boxes — but they re- 
serve their criticisms for the newspapers of 
the next day; where they come out in col- 
umns, sir — columns, often disgraceful as to 
truth, as they are ignorant of the rules of 
science. 

Quin 

Aye, in our time the audiences were judicious. 
We had few riots and disorders such as are 
now common at our playhouses. 

Bellamy 

Is nothing better now than it used to be? 

[96] 



LOVELY PEGGY 



Quin 

Nothing, madam. We live in a degenerate age. 
The acting of today is heresy. 

Garrick 

Pope Quin damns all Churches but his own. 
When Doctrines meet with general approbation, 
It is not heresy, but reformation. 

Macklin 
Hear, hear ! Sir, your health ! 

[All rise.] 
I drink to 

Roscius, Paris of the stage, 
Born to please a learned age! 

All 
To Roscius ! Garrick ! etc. 
[They drink and sit again.] 

Garrick 
[Rising.] 
My friends, I thank you. 

All 
Hear, hear! 

Garrick 
[Sips a cup of tea.] 
Madam, this tea is as red as blood! It is need- 
less waste to make it so strong ! 
[97] 



LOVELY PEGGY 



Peg 
You can retrieve the loss, sir, next month ! 

Garrick 

[Picks up a wine-glass and addresses the 
table.] 
I shall take this opportunity to propose another 
health — that of Mrs. Woffington! — 

All 
Hear, hear! 

Garrick 
Mrs. Woffington — my lovely Peggy — who has 
honored me with the promise of her hand — to 
the future Mrs. Garrick! 
[General applause.] 

Garrick 
With your permission — we'll celebrate the event 
with a few verses, which I have kept as a sur- 
prise for lovely Peggy. 
[Clears his throat and chants.] 

Once more PU tune my vocal shell, 
To hills and dales my passion tell, 
A flame which time may never quell, 
That burns for lovely Peggy. 

The sun first rising in the morn, 
That paints the dew-bespangled thorn, 
Doth not so much the day adorn 
As does my lovely Peggy. 
[98] 



LOVELY PEGGY 



All 
Bravo! Bravo! 

[They rise and pick up their glasses.] 
To lovely Peggy! 

Garrick 

[As they drink.] 
While bees from flowers to flowers rove, 
And linnets warble through the grove, 
Or stately swans the waters love. 
So long shall I love Peggy'. 

[At the conclusion of the song, Garrick 
drains his glass and snaps the stem. The 
others do likewise, and Peggy, very happy 
and charming in her confusion, rises to 
reply.] 

Peg 

My friends — we poor players are so accus- 
tomed to have words put into our mouths 
for us, — that we lack words of our own. 
What can I say more than that I am happy? 
Happy in our love — and happy in the triumph 
which has been David's on the stage. Alex- 
ander sighed for more worlds to conquer. I 
am happy in having conquered a woman's 
world — which is love. I sigh for no more. 
In future this house will be my world, an 
empire wide enough for me, and when the cur- 
tain falls — as some day it must — for the last 
[99] 



LOVELY PEGGY 



time — I will be content if I played my part 
well. Once more, dear friends, I — I thank you. 
[Sits amid general cheers. Both she and 
Garrick are much moved.] 

Johnson 

Madam, permit me to offer my felicitations. I 
have known Davy Garrick longer than you 
have. He has wit and genius — and I know him 
to have a heart. 
[Rises from his chair.] 
And now, madam, I must bid you adieu. I am 
not accustomed to the late hours which com- 
pose the actor's day. Madam, your humble and 
obedient. 

[Peg rises as do the rest of the company. Dr. 
Johnson stamps tozvard the door L. fol- 
lowed by Garrick, amid the farewells of 
the others. At the door he again pauses and 
hows with dignity, and then goes out.] 

Bellamy 
[Crosses to Peg.] 
Mrs. Woffington — I wish you every happiness 
and joy. 

Peg 

You are very kind, my child. Let us forget all 
the little differences of the past. Will you for- 
give me my former rudeness? 
[100] 



LOVELY PEGGY 



Bellamy 
With all my heart ! 

[They kiss and Quin and Macklin also come up 
and kiss Peg's hand.] 

Bellamy 
Good night, Mrs. Woffington. 

Peg 
Good night ! 

Quin 

Madam, I am a crusty old bachelor with a sharp 

tongue, — but you may count me your friend. 

Peg 
I will, Mr. Quin, I will. 

[Quin escorts Mrs. Bellamy to the door. Gar- 
rick sees them out. Macklin stands by Peg 
talking to her as they go.] 

Macklin 
Madam, remember that happiness is hard to win 
and easy to lose. It also entails mutual obliga- 
tions. One cannot be happy alone. You are in 
love with genius. 

Peg 
You speak like Sir Oracle! 

Macklin 
I am. I have lived, Mrs. Woffington. They call 
me a man of the last century. 
[101] 



LOVELY PEGGY 



Peg 
[Roguishly.] 
I have heard they called you the Wild Irishman ! 

Macklin 
That too. 

Peg 

But what is this riddle you have propounded to 
me? 

Macklin 

Madam, you must guess the answer for yourself. 

[Bows.] 
Good night. 

[As he goes, Hodgson and Pompey rapidly 
clear the table. Peg sits in the chair before 
the fire and Garrick returns to her.] 



Peg 
What an odd character Macklin is! 

Garrick 
[Starts.] 
Why do you say that, Peggy? 

Peg 

He has been speaking to me in riddles. I could 
not understand what he meant. He warned 
me to take care — of what, David — do you 
know? 

[102] 



LOVELY PEGGY 



Garrick 

Give it no thought, Peggy. He likes to affect 
the cynic. 

Peg 

He frightened me — I don't know why. You love 
me, David? 

Garrick 
Can you ask ? 

Peg 

I am foolish — forgive me — but it is such joy to 
hear you say it. 

[The servants go out, having completed the 
clearing of the table, which they shove back 
up stage, leaving more of the center clear.] 

Garrick 

My angel ! 

[Kisses her hand.] 

I — I must leave you awhile now, Peggy, I have 
an appointment at the Bedford, — it is on busi- 
ness connected with the theatre. 

Peg 

I shall come to hate the theatre, David ! It is 
always coming between us and stealing away 
our most precious moments. 

Garrick 

[Consults his watch.] 

[103] 



LOVELY PEGGY 



I will not be long, dearest. It is very late. 
[Kisses her on the forehead and goes, leaving 

her sitting before the fire.] 
[Enter after a brief pause, Pompey. He 

comes forward mysteriously.] 

Pompey 
Missis ! 

[Peg starts. She had not been aware of his 
entrance.] 

Peg 
How you startled me, Pompey! What is it? 

Pompey 
Sh ! Master gone away ? 

Peg 
Your master has gone to the Bedford. 

Pompey 
Then me give you this. 

[Produces a note with an air of triumph. 
Peg takes it.] 

Peg 
Who gave you this, Pompey? 

Pompey 

Fine gentleman! Gave Pompey a guinea — all 
gold, — he said take note Mrs. Woffington — 
[104] 



LOVELY PEGGY 



your mistress — give it her when she alone — or 
he break every bone in Pompey's body! 



Peg 



You may go, Pompey, 

Pompey 
Thank you, missis. 
[Goes out door, L.] 



Peg 

[When he has gone, breaks the seal and goes 
to a candle to read it.] 
To the beautiful but cruel Mrs. Woffington. 
The man you believe perfect and who tells 
you of his love, has a different tale to tell 
behind your back. Ask the beautiful V. who 
dances at Drury Lane, if she knows one 
David Garrick. '(Signed) C. 
It's monstrous ! It's a lie ! It's another trick of 
Sir Charles. Does he think he can trap me 
so easily? 

[She starts to hum the letter at the fire ; then 
hesitates and puts it in her bosom. She sits 
again in the large armchair with her back 
to the door L. The latter is quietly 
opened and Sir Charles glides noiselessly 
into the room, after closing the door care- 
fully behind him. He tiptoes to the chair, 
stoops suddenly and kisses Peg. She 
springs to her feet with a scream.] 
[105] 



LOVELY PEGGY 



Peg 
You ! 

Sir Charles 

Yes, my soul's idol, it is L 
Peg 

How dare you force your way in here ! My ser- 
vants shall throw you into the street. 
[Rushes toward bell rope.] 

Sir Charles 

It would be folly to inform them of my presence. 
They would undoubtedly communicate the 
fact to Mr. Garrick. 

Peg 
[Pausing.] 
How did you get in? 

Sir Charles 

I have been watching from the street. Mr, 
Garrick is careless — very careless. He left 
the front door ajar. 

Peg 

You must leave this house instantly. 

Sir Charles 
Pardon me, I will leave it when I choose. 
[Pours himself a glass of wine.] 
[106] 



LOVELY PEGGY 



To our future meetings ! 

[Drinks.] 

Peg 

[Takes hold of bell rope.] 
I will ring for help then! I'll tell how you 

forced your way in here — 

Sir Charles 

I would not risk it, Peg. Really, I wouldn't. 
Mr. Garrick is a jealous man — and I might 
remind you that he has had cause to be 
jealous of me before. 

Peg 
[Pauses by the bell.] 
You are a monster — a beast ! 

Sir Charles 
[Continues to drink.] 

A basilisk — or what you will. By the bye, 
Peggy, it was very careless of you in the old 
days to send me love letters undated. 
[Takes out one or two letters.] 

I have some with me to which I have been 
careful to have the date added — a recent date, 
you understand? Now ring the bell, for I am 
anxious to show these letters to friend Davy 
myself. Let us send Pompey to the Bedford 
to fetch him. 

[107] 



LOVELY PEGGY 



Peg 

You are heartless ! 

Sir Charles 

[All through this scene he is gradually be- 
coming intoxicated.] 
As heartless now as you have been to me. 
Madam, you were pleased to throw me over 
for a wine-merchant. You are now to reap 
the consequences of your folly. 

Peg 
Have you no pity? Will nothing move you? 

Sir Charles 

Nothing. I have not come to make terms but 
to demand them. If you become my mistress 
again — 

Peg 
I never was your mistress — 

Sir Charles 

I prefer to call it that — the world would see little 
distinction in these titles. What it believed 
you to be before, by Heaven, I'm going to 
make you now ! 

Peg 
And if I refuse? 

[108] 



LOVELY PEGGY 



Sir Charles 

In that case I will put these letters into Garrick's 
hands. 

Peg 

Do it! I defy you. If you are so base as to ruin 
my life because I was once fool enough to 
trust you, do it! But you won't conquer me 
though you overturn my castle ! 

Sir Charles 

You lack the courage to resist me. I will break 
you down, Peg. You love praise and flattery 
— you cannot live without them. It's your 
very life. I'll give you both. Garrick is 
growing tired of you. 
[Peg winces.] 

Ah, that went home did it? You received my 
note, I see. 

Peg 

I received your lies which you bribed my servant 
to give me. But they are lies. See this ring! 
It was placed on my finger today and if you 
dare to tell your lies to my husband, he'll kill 
you! 

Sir Charles 

Your husband ! 
[Laughs.] 

Where may I go to hear the banns read? Eh, 
[109] 



LOVELY PEGGY 



Peggy? The gift appears to me suited to the 
well-known parsimony of our friend! Send 
it to the jewelers and make certain it isn't 
brass ! 

Peg 

Our betrothal was announced to our friends in 
this very room tonight. 

Sir Charles 

Aye, that's it, Peggy, my dear. David has many 
friends but no friend. If you don't believe 
me, watch him for yourself. Have you seen 
the fair Mademoiselle Violette? Ah, I see 
you know her. 

Peg 

What of that? 

Sir Charles 

Simply this. Your — er — what is it you call him 
— ah, yes, husband — wasn't that what you 
said? Husband has a pleasant sound! — Well, 
your husband — no, hang it, I won't call him 
that! Mr. Punch, the play-actor, knows 
Mademoiselle Violette. 

Peg 
It is not surprising. She dances at Drury Lane. 

Sir Charles 
She'll lead him a dance, never you fear, and you, 
too, Peggy. 

[110] 



LOVELY PEGGY 



Peg 

Because you are incapable of honor yourself, 
you impute dishonor to everyone else. 

Sir Charles 

No, Peg, you're wrong there. You can see for 
yourself that vanity is devouring him. Pretty 
women by the dozen are at his feet. It takes 
a greater man that Davy Garrick to say, "get 
you behind me, ladies." I know you both, 
Peg. You won't tolerate Davy — because 
you've let him make a fool of you. And he 
will weary of you because you were the first — 
and no famous man ever lives with his first 
love! 
[Laughs at his own joke.] 

Confess, Peggy, you are beginning to believe 
me in the right? 

Peg 
No! It is all lies from beginning to end! 

Sir Charles 

There! You see you know what to expect from 
me. But with a man like Punch you never 
know where to look for him next. I saw your 
Garrick and this Mademoiselle Violette in the 
green room the other day, whispering behind 
her fan. 

[Ill] 



LOVELY PEGGY 



Peg 

If you hope to make me jealous, you are wasting 
your breath. 

Sir Charles 

Very well, we'll grant him Mademoiselle Violette. 
Nay, Peggy, you shall listen to me ! I love 
you — I tell you I do! Damme, I've known too 
many women not to pick a thoroughbred when 
I see one. You've wit and pluck, too, by Jove, 
beauty — everything I want. The conjunction 
is a rare one. I can pick you a dozen pretty 
faces and a dozen witty minds, but they don't 
often go together. There's Bellamy — a doll — 
pretty, if you like — none prettier — but, Peggy, 
the girl is intolerably dull — silly — vain — 
affected. I made her a present of two hundred 
pounds and bowed myself out. 
[Sits in a chair and stretches himself com- 
fortably.] 

What a soundless depth between the Bellamy 
and you ! You know, I have leisure to appre- 
ciate a woman. — I've no occupation to use up 
my life and its most precious moments. I've 
my estate, a baronetcy is a comfortable, incon- 
spicuous title. One is not expected to be 
famous if one is merely a baronet. 

Peg 

You seem to prefer to be infamous. 
[112] 



LOVELY PEGGY 



Sir Charles 

You do me wrong, Peg, 'pon my honor, you do. 
I confess I seek pleasure where I can find it — 
but through it all runs my love for you — like 
the burden of a song. Egad, you make me 
serious. It's a compliment. Peg. No other 
woman can do it. 

Peg 

Sir, your insolence and conceit — 

Sir Charles 

Ah, I know all about them, too. But Pm not in 
love with fame — Pm not in love with vanity — 
and that play-acting fellow is! Pm in love 
with you — but he's in love with himself. 

Peg 

Won't you go, sir? Haven't you tortured me 
enough ? 

Sir Charles 

Go? Not L You compel me to stay. I wish 
to show Mr. Garrick some private correspond- 
ence. 

[Takes another glass of ivine.] 

Peg 

I — I am fighting hard to do my duty, — and you 
come here as if to punish me for my sins ! 
Will you take this last opportunity from me to 
[113] 



LOVELY PEGGY 



redeem myself ? I love David Garrick. What 
am I to you? There are a dozen women who 
can give you more than I can, — you have 
wealth, power, ever}^hing. As for me, I was 
a beggar girl once, — why should you even 
stoop to notice me? You have your own 
world to live in. Leave me to live in mine. 
Mr. Garrick says he loves me and will marry 
me. Would you do the same? 

Sir Charles 
[Drinking.] 
Marry you. Peg? I would be the laughing-stock 
of the town! 

Peg 

[Winces.] 
Is that the penalty you pay for seeking my 
society ? 

Sir Charles 
[Takes a drink.] 
It's fashionable to run after actresses, — I like 
cards better myself — but must be fashionable. 
You most fashionable actress in town. Hence 
must run after you. That's excellent wine, 
Peg. Not fashionable to marry actresses. 

Peg 

At last I am to hear the truth, am I ? 
[114] 



LOVELY PEGGY 



Sir Charles 

Egad, always tell the truth, Peg — and nobody- 
will believe you. Excellent rule. I tell you 
what ril do. I'll settle an annuity on you, 
Peg — five hundred pounds a year and damme, 
that's generous. 

[Peg endeavors to pick up the letters zvhich 
he had laid beside the arm of his chair, but 
with a drunkard's cunning he is too quick 
for her and puts them in his side pocket.] 

Sir Charles 

Sly, eh, Peggy? Sly? Too old a dog, Peg. Fm 
too old a dog. No, we'll read 'em to Master 
Davy when he comes home. Egad, I hope I 
shan't laugh when I see his face. 
[Peg is getting very nervous and almost des- 
perate. She goes to windoiv and peers up 
the street. Then returns and stands irreso- 
lute a second, watching Sir Charles drinking 
still another glass of wine. She goes up 
stage and returns with another decanter 
which she sets before him.] 

Peg 

An annuity, I think you said ? 

[Pours him out a glass from the new de- 
canter.] 

[115 J 



LOVELY PEGGY 



Sir Charles 

Five hundred pounds — that's it. 

[She comes close to him and he fingers the 
miniature hanging by a chain around her 
tieck.] 
Devilish pretty miniature, Peg! 

Peg 

[Shudders and tries to make him release the 
miniature.] 
Will you give me your opinion of this brandy? 

Sir Charles 

[He releases the miniature.] 
Brandy? Let me have it. 

[She hands him the glass. He sniffs the 
bouquet and spills a little.] 
You sly puss ! It's the money caught you — 

damme, money always catches 'em. An' I 

waste time making love ! 

[Tries to catch her around the waist but she 
eludes him.] 
I'll see my lawyer about it in mornin', 'pon honor. 

Five hundreds pounds — all yours — give me 

another glass. 

Peg 
[Pours him a glass.] 

[116] 



LOVELY PEGGY 



You really thought I was in earnest when I 
refused you? 
[He nods his head solemnly.] 

Fie, Sir Charles — and you pretend to under- 
stand women ! 

Sir Charles 

It's mistake — I don't — nobody does. It's money — 
[Nods and falls asleep. She watches him a 
moment and as he begins to snore, tiptoes 
up and carefully removes the letters from 
his pocket, ivhere he had put them. With 
a quick movement she darts across the stage 
and places them in the fire. She makes 
certain that they blaze up and when the 
flicker of the flames has died away, she 
returns to where Sir Charles is sitting. 
She sJiakes him, but it has no effect. She 
goes then to the dressing table upstage and 
returns zvith a bottle of sal volatile. She 
sprinkles it vigorously full in his face. 
With a start and a suppressed exclamation 
he wakes up and staggers to his feet.] 

Sir Charles 
What the devil ! 

[Sneezes violently several times, while Peg 
plies the smelling salts.] 
Damme — what's the matter? 
[117] 



LOVELY PEGGY 



[Sneese.] 
Where am I? 

[Sneeze.] 

Peg 

[Putting the bottle down.] 
The Irish girl was too much for ye that time, me 

fine gentleman. The letters are burnt — and 

now I won't be keeping you any longer, Sir 

Charles ! 

[He searches his pockets and the table hastily. 
The sal volatile has sobered him.] 

Peg 

I hope you like the flavor of my smelling salts ! 

Sir Charles 
[Advances threateningly.] 
Give me back the letters! 

[He seises her roughly in his arms, while she 
struggles with him. His wig comes off in 
the tussle.] 

Peg 

[Fighting him off.] 
The letters are in the fire! Now go! Or I 
summon the household! 
[The front door is heard to slam-. Peg starts 
and in an agony of fear shoves Sir Charles 
toward the door R.] 
[118] 



LOVELY PEGGY 



Peg 

There's a way out through the passage at the 
other side. If he finds you here I swear he 
will kill you ! 

Sir Charles 

[Draws his sword coolly.'] 
'Faith, killing is a game two can play at. 

[He tests his blade and strikes an attitude. 
Peg rushes across the room and locks the 
door into the hall.] 
Not so eager for the slaughter as you were? 
[The door is tried and rattled. Garrick's 
voice is heard.] 
Open, Peggy, open! Are you asleep, my love? 

Sir Charles 

Shall I trouble you to unlock that door, or shall 
I do it myself? 
[Takes a step toward it.] 

Peg 

Oh— go— go ! 

[Garrick's voice.] 
Within there ! Peggy ! Open — it's David ! 

Sir Charles 

The next time he calls, Til answer for you. 
[119] 



LOVELY PEGGY 



Peg 
[Clinging to him.] 
If you'll only go — I'll promise anything — any- 
thing ! 

Sir Charles 

I've given too many of them myself to value 

them much. 

[Takes the miniature and chain off her neck — 
reads inscription on back.] 
"To lovely Peggy from David," that will do. If 

you come to claim this, it shall be yours. If 

you don't I'll tell your David that you gave it 

to me ! 

[Garrick's voice off.] 
Open! 

[He knocks loudly.] 

Sir Charles 
[Boivs.] 
To our future meeting! 

[He slips through the door R. and Peggy 

turns the key after him.] 
[Garrick's voice.] 
Hodgson ! — Pompey ! 

[Peg goes to door L., and opens it, yazvning 
in Garrick's face as he rushes in followed 
by Pompey and Hodgson in strange night 
attire. ] 

[120 J 



LOVELY PEGGY 



Peg 
Oh, 'tis you, David ! You're very late. 

Garrick 

Late! Egad, I've been halloing and knocking 
these ten minutes. Gabriel himself could not 
have made more noise. 

Peg 

I must have been asleep. I heard nothing until 
this moment when you called out to the ser- 
vants, didn't you? 
[Yawns.] 

Garrick 

[To Pompey and Hodgson.] 
Well, what do you stand gaping at? You may 
go, both of you. 
[They go out and Garrick closes the door.] 

Peg 

The wine must have made me sleepy. Did you 
finish your business at the Bedford? 

Garrick 

[His eyes taking in the room.] 
Aye. It was soon finished. — Peg, I thought I 
heard voices in this room while I was outside. 
[121] 



LOVELY PEGGY 



Peg 

Voices? Perhaps I talked in my sleep, Davy. 
I was sitting here before the fire and it was 
dull waiting for you. I was a bit drowsy. 

Garrick 
[Stopping by the decanters.] 
You've been drinking brandy, Peg? 

Peg 

Yes, I felt a little chilly after you went. There's 

nothing like brandy for the stomach, Davy. 

Garrick 
[Takes out his handkerchief and measures 
the liquid remaining in the decanter.] 
'Faith, Peggy, I don't wonder you were drowsy. 
It has fallen a good three inches. 

Peg 
You measure the wine? 

Garrick 
You would not permit the servants to rob you, 
I suppose? 

Peg 
But it is my turn to pay this month ! 

Garrick 

All the more reason for me to see that Hodgson 
or Pompey do not impose upon your good 
[122] 



LOVELY PEGGY 



nature. Three inches of brandy is worth two 
shilHngs — no, 'tis a half crown. At that rate 
a guinea is soon gone to the devil. 

Peg 

Trust you, Davy, for making it go further than 
anyone else ! 

[Garrick walks about the room nervously. 
Peg watching him anxiously. As he does 
so, he stumbles across Sir Charles' wig 
which lies under one corner of the table.] 

Garrick 

[Stooping and picking up the wig.] 
What's this ? 

[Holds it up.] 
A man's wig! 

[Examines it hastily.] 
It's not my wig! 

Peg 

[Coolly.] 
No, it is not! 

Garrick 

[Getting very much excited.] 
Oh, madam, I have found you out at last? So 
there has been another lover in the case! 
[Working himself into a passion.] 
[123] 



LOVELY PEGGY 



You've made a fool of me before the town! 
Your intrigues and extravagances are the 
common gossip of the Bedford! I hear 
men sneer behind my back when I come into 
a room. And now you dare to meet your 
lovers in our very house! That was why the 
door was locked on my return! 

Peg 
[With dangerous calmness.] 
I beg of you, Mr. Garrick, not to make of your- 
self so great a fool! Please give me my wig 



back again. 



Garrick 



What ! Madam, do you glory in your infidelity ? 
Do you own the wig then ? 

Peg 

Yes, to be sure I do. I'm sure it was my money 
paid for it, and I hope it will repay me with 
money and reputation, too. 

Garrick 
[Taken aback at her coolness.] 
Madam, what do you mean? Explain yourself, 
if you can. 

Peg 

When you are in a more sensible frame of mind 
I will give you an explanation, not before. 
[124] 



LOVELY PEGGY 



Garrick 

Zounds, madam, do not torture me in this way! 
I demand — nay, I entreat you will explain the 
presence of this strange wig in our apartment? 

Peg 

Why, if you thus choose to desert your character 
as a man and insist upon prying into all my 
business, know that it is a new wig which I 
ordered for my part of Sir Harry Wildair — 
and since you chose to leave me to myself 
this evening — I have been rehearsing in it 
before going to bed. I was careless enough to 
leave it in your way — but is that a reason to 
scold and plague me as if I were a common — 

Garrick 

But the door, madam I How do you explain the 
fact that it was locked upon my return? 

Peg 

Because I do not wish to remain alone in the 
house without some protection. 

Garrick 
[Dropping on one knee.] 
It was wrong of me to doubt you. I've been so 
tormented by my jealousy of you! Every- 
where I turn our enemies and detractors 
spread lies and scandal — 
[125] 



LOVELY PEGGY 



Peg 

If you listen to them instead of me! 

Garrick 

Nay, Peggy, I'll never give them another 
thought! I swear it! I will believe you and 
only you I Say that you love me ! 

Peg 

I will not say it again until you have given me 
proof of one thing. Do you love me, David ? 

Garrick 

My dearest, how can you ask? Have I not 
proved it again and again? 

Peg 

There is one final proof that you must give me 
at once. David, you must make an honest 
woman of me. There must be no more delay, 
or I won't answer for the consequences! 

Garrick 
Peg! 

Peg 
I mean it, David. You must give me your 
promise tonight, once for all ! 

Garrick 

But I have given it to you ! Did I not announce 
it to all our friends? 

[126] 



LOVELY PEGGY 



Peg 
I want to know when it is to be. 

Garrick 

Then, on my honor, it shall be as soon as we can 
have the banns read! I'll have them posted 
tomorrow. 

Peg 
David ! 

[He puts his arm around her zvaist and they 
sit before the fire together.] 
And you'll marry the Irish beggar girl ? 

Garrick 

Yes — and, Pegg}^, we will buy ourselves an 
estate in the country — say, up the river some- 
where, — and live monarchs of all we survey! 
We'll laugh at the town — aye, and at the critics 
too! Nothing shall disturb our arcadian bliss. 

Peg 

I shall keep fowls, David. I've always wanted 
to. 

Garrick 

Excellent! And I, let me think — ah, yes, I will 
build a little temple to Shakespeare in the 
garden and we will sit in it on summer even- 
ings and play Romeo and Juliet to the moon. 
[A short pause, Garrick looks at Peg's neck.] 
[127] 



LOVELY PEGGY 



Let me have the miniature you wear about your 
neck, Peg. Fll have a jewel added to it to 
mark this night. 

Peg 
[Changing color.] 
Not that, Davy ! It must be something new ! 

Garrick 

Nay, I am determined. At least, let me see it 
and show you where I mean to place it. 

Peg 
I took it off, — it is locked up with my jewels. 

Garrick 
But you were wearing it before I left. 

Peg 
I know, but I locked my jewels away for the 
night. 

Garrick 
Strange — here is a diamond pin, and here's a 
chain of pearls about your neck ! 

Peg 
I am sleepy, David! Would you plague me for 
a trinket tonight? 

Garrick 
Nay, give me your key and I will fetch it out 
for you. 

[128] 



LOVELY PEGGY 



Peg 

I have forgotten where I put the key. On the 
mantelpiece perhaps. 

Garrick 

[A look of suspicion growing again in his 
face.] 
On the mantel you said? 

Peg 
Or in my room. 

[He goes to the door of her room and tries it. 
It is locked.] 

Garrick 
How's this, madam? Your room locked too? 

Peg 

Of course. The back stairs lead into the passage 
beyond, and I was afraid, David, all alone. 
[Garrick unlocks the door and opens it 
quickly. As he does so a sheet of paper 
pinned to the other side of the door, flutters 
to the floor. Peg sees it and springs to her 
feet with a little cry, then recovers herself 
quickly and stands watching Garrick with 
panting bosom. Deliberately he picks the 
paper up and reads it.] 
[129] 



LOVELY PEGGY 



Garrick 
[Reading.] 
"To Master Davy Garrick: Should you wish to 
reclaim a certain miniature belonging to Mrs. 
Woffington, the undersigned will deliver it to 
you. I have the honor to remain, your humble, 

Hanbury Williams." 
[A look of rage and jealousy comes into Gar- 
rick's face. Peg is very pale.] 

Garrick 
So, madam, you have lied to me ! 
Peg 



Garrick 
Peg 



Yes. 

It was his wig? 

Yes. 

Garrick 
Pish! Macklin was right. As well expect con- 
stancy in a — 

Peg 
Stop! David, if you refuse to listen to me now 
you will repent it all your life ! 

Garrick 
Listen to you? I shall repent all my life that I 
ever did ! 

[130] 



LOVELY PEGGY 



Peg 

Then from this very hour we separate ! Had 
you been worthy to hear the truth, I would 
have told it to you, but it is ended for ever! 
To think that I, Peg Woffington, still believed 
in honor and love ! 
[Laughs unpleasantly.] 

You've opened my eyes, Mr. Garrick ! Here 
was I, taken in by your vows like any school- 
girl, — and all the while I was nothing to you 
but what you could find in any green room. 
And I believed in it all ! Good God, I believed 
it! 

Garrick 

Madam, have you the effrontery to deny your 
guilt in the face of this proof? 

Peg 

No! I admit it! I am guilty! I made an ap- 
pointment here tonight with Sir Charles — we 
planned it well, didn't wc? I knew you were 
going to the Bedford — Sir Charles overheard 
you arrange to meet your friends there, — the 
hour was fixed. I meant to dupe you, trick 
you, gull you, make a fool of you ! I wanted 
the town to say that Peg Woffington had made 
a fool of David Garrick — to hear them roll 
it over on their tongues as they sipped their 
chocolate, — to see them shrug their shoulders 
[131] 



LOVELY PEGGY 



and raise their eyebrows when you passed, — 
ah, you didn't know all this, did you? And 
you thought I cared! I've been playing with 
you, as I've played with dozens of others — 
[Garrick turns on his heel and strides out of 

the room zvithout a word. The front door 

is heard to slam.] 

Peg 
David ! David ! It isn't true ! I love you ! 
[She collapses in a heap on the floor.] 



QUICK CURTAIN 



[132 J 



ACT III 

Scene: The stage, Covent Garden. Some 
months later. The stage is seen from the 
audience as if one ivere standing in the wings. 
That is to say one is looking at it from the side. 
The entire right to a little beyond left-center 
is taken up with this reproduction of the 
Covent Garden stage. The candle footlights 
are also seen and the stage itself is lighted by 
many candles in a chandelier which hangs 
from the flies. On the left are the benches of 
the pit and one stage box also faces the real 
audience. 

The stage is set for the last act of As You Like 
It, and the benches in the pit are thronged with 
a motley crowd. All through the action on 
the miniature stage the audience in the pit 
must sustain their part in the picture. 
At the rise of the real curtain, the curtain on 
the miniature stage is down and the applause 
from the pit, which is heard the moment 
before, dies away. The "play" audience rise 
and conversation among them becomes general 
as they pass among themselves. Ladies in 
extravagant costumes can be seen in the stage 
box. On the miniature stage, the scene- 
shifters are putting everything in order. John 
Rich is directing them. 
[133] 



LOVELY PEGGY 



Rich 
[Tapping ivith a heavy stick. ^ 
Blockhead ! Prop up the oak tree ! Would you 
have the Forest of Arden come tumbling about 
our ears ? — Zounds, fellow ! Don't make such 
an infernal row with your hammering! — The 
wing at the first entrance on the O. P. side is 
too far forward. Shift it back! Ready for 
the fifth act, William ? 

[A general murmur in the affirmative as the 
scene-shifters go off. Sir Charles comes 
from among the audience in the pit and 
climbs on to the miniature stage, passing 
behind the curtain.] 

Sir Charles 
You've a large audience, tonight, Rich. 

Rich 

The first in weeks. Muster Garrick is not play- 
ing at Drury Lane tonight. 

Sir Charles 

He's his own manager and only acts when it 
suits his vanity. We made a mistake. Rich, 
when we rejected his services. 

Rich 

Aye, but who could foresee that the town would 
go mad over him? And now I have to follow 
[134] 



LOVELY PEGGY 



the fashions he sets — or play to empty- 
benches ! 

Sir Charles 
You are giving us a devilish bad performance 
tonight. 

Rich 

I know ! You can't get the effects in Shakes- 
peare that you can with a good pantomime. 
But the town wants Shakespeare because 
Muster Garrick has made him fashionable, so 
I let 'em have it. They flock to Drury Lane 
fast enough to see Hamlet and Lear, so I puts 
'em on As You Like It to counteract the other 
house. And it hasn't paid, Sir Charles, it 
hasn't paid ! 

Sir Charles 

1 do not wonder at it. The Woffington is acting 
very badly this week. 

Rich 

The stubborn jade! Ah, Sir Charles, the trials 
of us managers ! She complains of being ill ! 
She refused to go on at all tonight at first. I 
told her I was too old a hand to accept that 
excuse. "You go on tonight as Rosalind," 
says I, "or I'll fine you a week's salary and 
give the new play to Bellamy." I heard no 
more about illness after that, but she's playing 
[135] 



LOVELY PEGGY 



damned bad to spite me. She's never been 
the same actress since Muster Garrick would 
have nothing more to do with her. 

Sir Charles 

Turn her off, that's the best way to deal with 
women. They'll come back whining then. 

Rich 

I dare not! I've not another soul in my com- 
pany can draw the town at all. 
[Tate Wilkinson, looking as poor and miser- 
able as ever, wanders in from behind the 
scene on the right.] 

Sir Charles 
There's the Wilkinson lad ! 

Rich 

Aye, he's still pestering me to give him a theatri- 
cal engagement. Lord! how the fellow lives 
is more than I can see. 

Sir Charles 
[Addressing Wilkinson.] 
Ah, Wilkinson! 

Wilkinson 
[Coming forward.] 
Yes, sir? 

[136] 



LOVELY PEGGY 



Sir Charles 

What are you doing here, eh ? Answer me that ! 

Wilkinson 

I — I am hoping to secure a position, sir. 

Rich 

I've told ye a thousand times that ye needn't 
hope for anything here. I won't have you ! 

Wilkinson 
[Sadly.] 
I know, sir. But something might turn up, — if 
another actor were taken ill, for example? 

Rich 

I'd as soon put on one of my scene-shifters. 
Didn't ye disgrace my theatre once? 

Wilkinson 
Nevertheless, I think I'll stay. 

Sir Charles 

[Suddenly bursting into laughter.] 
By Jove, I believe the fellow is in love ! 

Rich 

You're a wag, Sir Charles! The boy's a poor 
penniless devil. 

[137] 



LOVELY PEGGY 



Sir Charles 
[Still laughing.] 
I'll wager you, Rich, he's in love with the Wof- 
fington. 

Wilkinson 
[Suddenly flaring up.] 
Well, sir, and if I am? I am not ashamed to own 
it. My love, at least, can never harm her. 

Rich 

Why, you fool, the woman hates and scorns you ! 
If it had not been for her, I would have given 
you something to do long ago, if only to be 
rid of your mournful moping. But Mrs. Wof- 
fington will not have you in the theatre. 

Wilkinson 

I — I offended her once — without intention — and 
she will not forgive me. It is not her fault — I 
— I lack the courage to explain to her, — and 
I love her for it all the more. 

Sir Charles 
Damme, an odd fish. Rich ! 

[A noise of chattering and laughter is heard 
off right. Enter Peg Woffington, in doublet 
and hose, costumed as Rosalind in the Forest 
of Arden. A szvarm of gallants and ad- 
mirers folloiv at her heels. Her gaiety 
[138] 



LOVELY PEGGY 



sounds forced and unnatural. Rich and Sir 
Charles go up stage. Wilkinson slinks into 
the shadow of one of the ivings and stands 
watching her with hungry eyes.^ 

First Gallant 
[Offering a jeweled brooch.'] 
Queen of my heart, will you still refuse this 
trinket ? 

Peg 
[With a mock Irish brogue.] 
Get along with yez, — palaverin' at a poor girl like 
me. 

[First gallant falls back discomfited. The 
others laugh.] 

Second Gallant 
[Offering flowers.] 
Will you teach me to make love as you teach 
Orlando? 

Peg 

Monsieur Le Beau, I take no pupils unless they 
have had some experience! 
[Renewed laughter by the others.] 

Third Gallant 
[Offering verses.] 
Read these verses, divinity ! I would hang them 
on an oak tree, only there is none in London. 
[139] 



LOVELY PEGGY 



Peg 

Keep them and read them to me seven years 
hence. That advice is from another poet — 
Horace. 

[Sir Charles comes down stage to her and 
bows with a flourish. Peg recoils and then 
recovers herself. The other gallants go up 
stage, with bows, leaving them alone.] 

Peg 
Do you have the presumption to address me, sir ? 

Sir Charles 
[Taking snuff.] 
Pardon me, I was not aware that I spoke first ! 

Peg 
No matter. Your presence is an insult. 

Sir Charles 

It is mere common politeness, I assure you. I 
came to congratulate you upon getting rid of 
your play-actor admirer, Master Davy. 'Faith, 
Peg, I laugh to think how you packed him off 
to Drury Lane by himself. It was clever of 
you. Peg, — infernally clever! 

Peg 

Mr. Garrick has always been free to make his 
own plans. 

[140] 



LOVELY PEGGY 



Sir Charles 

And now that he has made his exit,— I hope it 
was a graceful one, Peg? — allow me to return 
this keepsake which you once bestowed, re- 
luctantly ril admit, upon me. 
[He offers her the miniature and chain which 
he took from her in the last act.'] 

Peg 

You have carried your pleasantry far enough. 

Sir Charles 

Good! I am rejoiced to hear you call it that! 
And now that you have seen the truth at last, 
permit me to make amends for the past. 

Peg 
What do you mean? 

Sir Charles 

Why, look you. Peg, when I heard of Mr. Gar- 
rick's dismissal from your favor, I altered my 
plans. Pve bought a little villa in the country, 
— in a quiet spot, — it's in a veritable Forest of 
Arden, Peggy, — and there we may live like 
some shepherd and shepherdess, eh ? 

Peg 
Am I to understand that you are serious? 
[141] 



LOVELY PEGGY 



Sir Charles 

For once, I am ! I offer you devotion — peace — 
and everything that money can buy besides. 
You cannot Hve without a protector. And 
with Garrick out of the way, who else but me ? 

Peg 

[With a frigid manner.] 
Sir, you are vastly mistaken in your ideas. 
[Turns her back on him and ivalks away.] 

Sir Charles 

Hark'ee, Peg, not so fast! I came prepared for 
this too! I shall not endure any more trifling 
from you. 

Peg 
[Turns, angry.] 

Do you dare to threaten me? 

Sir Charles 

It is not a threat. But if you are unreasonable, 
I have a remedy for that. 

Peg 

Well, sir, I choose to be unreasonable, as you 
call it. Pray have you any further business 
with me? 

Sir Charles 

Yes. If you reject this proposal, I fear very 

[143] 



LOVELY PEGGY 



much that you will find the last act of As You 
Like It tonight very far from being as you 
like it. The pit and galleries are filled with my 
men, — which, by the way, accounts for friend 
Rich's full house. Either you consent to 
listen favorably to me, or the famous Mrs. 
Woffington will be publicly disgraced and 
hissed off the stage of Covent Garden! 

Peg 
[Her eyes biasing.] 
If you venture to interrupt my acting with your 
hired bullies, the town will stone you to death ! 
I have more friends than you think ! 

Sir Charles 
We will see ! You refuse to consent ? 

Peg 
I have already answered you. 

Sir Charles 
As you wish. 

[Turns to Rich, up stage.] 
Rich ! Rich ! One moment, if you please. 

Rich 
[Comes down stage obsequiously.] 
Your servant. Sir Charles ! 
[143] 



LOVELY PEGGY 



Sir Charles 

Rich, I have made a certain proposal to Mrs. 
Woffington which she has seen fit to reject. 
I regret that this circumstance compels me to 
have her hissed off the stage tonight. But I 
must teach her pride a lesson. 

Rich 

[Whimpering with anxiety.'] 
For God's sake, Sir Charles, I'll be ruined ! 

Sir Charles 
Then use you influence with the lady. 
[Walks coolly up stage.] 

Rich 

[Imploring Peg.] 
Madam, you've heard him! You must pacify 
him at any cost ! I'll increase your salary, — 
I'll do anything! With Garrick carrying all 
before him at Drury Lane, — it would mean 
ruin for us all, if you were hissed here! 

Peg 

[With composure.] 
Pray, do not be uneasy, Mr. Rich. Sir Charles 
is not as powerful as he believes. They would 
not dare to hiss me ! I never disappointed an 
audience in my life ! Nor have I ever refused 
to play for others' benefits. Did you not hear 
the applause at my first entrance tonight? 

[144] 



LOVELY PEGGY 



What reason have they to hiss me? I do not 
think so Httle of the pubHc's gratitude as you 
do, Mr. Rich. 

Rich 

But I tell you Sir Charles may do anything! He 
moulds the opinion of the pit. If he pro- 
nounces against a play, nothing can save it. 

Peg 

I am firm in my refusal to conciliate such a man 

in any way. Trust the public to me, I'll 

manage them better than Sir Charles. 

[The call-boy shouts the summons for the 

fifth act. Sir Charles returns from up 

stage.] 

Sir Charles 
Which is it to be, Mrs. Woffington, war or peace? 



War! 

As you please. 
[Bows.] 



Peg 
Sir Charles 

Rich 



Sir Charles, in Heaven's name have pity on me! 
It means thousands of pounds to me and I'm 
a poor man! 

[145] 



LOVELY PEGGY 



Peg 

It means more than that to me, Mr. Rich, but I 
am not afraid. 

Rich 
It's utter ruin for us both! Sir Charles — 

Sir Charles 
You cringing old simpleton ! 

[He walks to the curtain, pushes it to one side 
and passes into the pit, where way is 
respectfully made for him. As he takes his 
seat he passes a note to a man near him who 
goes out with it, left. On the miniature 
stage, the gallants gather at the wings, wait- 
ing for the act to begin. An actor and 
actress as Touchstone and Audrey respect- 
ively, take their places ready to go on when 
the curtain rises. Peg stands by one of the 
wings to wait for her cue. Near her stands 
Wilkinson.] 

Wilkinson 

[Advancing timidly.] 
Madam, I could not fail to overhear what just 
passed. I heard Sir Charles threaten you. If 
any service I could render you would prove 
acceptable, pray command me! 
[146] 



LOVELY PEGGY 



Peg 

[She is nervous.] 
Sir, the only service you can render me is to take 
your leave. 

Wilkinson 

Madam, I beg of you to listen to me for an 
instant ! You are mistaken if you think that I 
ever mocked your acting! Believe me when I 
say that I entertain for you nothing but feel- 
ings of the most profound respect and admira- 
tion! 

Peg 

[Acknozvledges the statement coldly.] 
Your frank acknowledgment of your error does 

you credit. 

[She turns her hack on him and he drops back 
crestfallen. David Garrick enters from the 
right, at this point. He comes to the 
center.] 

Peg 

[Starting as she sees Garrick.] 
David ! 

Garrick 
[Bowing.] 

Madam — I — I wish a few words with you, if I 
may claim the honor? 

[147] 



LOVELY PEGGY 



Peg 

[Freezing up again.] 
Pray proceed. The act is just beginning. 

[The miniature curtain rises and the fifth act 
of As You Like It begins, in dumb show, 
with the scene between Touchstone and 
Audrey. There is a slight ripple of ap- 
plause from the pit, but no disturbance. 
They are waiting for Peg Woffington's 
entrance. The character of William in As 
You Like It enters, and stands waiting in 
the wings for his cue. The prompter, who 
also stands in the wings, is seen occasion- 
ally to gesticulate violently at the characters 
on the miniature stage.] 

Garrick 

I regret sincerely, madam, that our quarrel has 
had the result of making the relations between 
us strained. 

Peg 

Surely you have not come here at this time to 
tell me that ! 

Garrick 

On the contrary it is the sole object of my visit. 
But I feel, in spite of the long friendship 
which once existed between us, that some 
apology for my presence is necessary. 
[148] 



LOVELY PEGGY 



Peg 

You need give yourself no further concern. The 
incident to which you refer has escaped my 
memory. 

Garrick 
[Ironically.] 
I rejoice that it has not disturbed you in any 
way. 

Peg 

Why should it? Your conduct was only what 
was to be expected from a man. Friendship, 
as you call it, between a man and a woman is 
only another name for indifference. 

Garrick 
You have no regrets. Peg, none? 

Peg 

Is that a fair question? I have already informed 
you that the episode is erased from my 
memory. 

Garrick 

It is more than I had dared to hope ! I may then 
discuss with you the matter of business which 
brings me here tonight? 

Peg 

Please do not longer delay it, as I expect my cue 
very shortly. 

[149] 



LOVELY PEGGY 



Garrick 

As you know, my managership of Drury Lane 
Theatre has met with extraordinary success. 
Not only have I estabHshed beyond question 
my own reputation as the greatest living actor, 
but I have become even more famous for the 
restoration of Shakespeare to our modern 
stage. 

Peg 
Sir, if you desire to finish before my cue — 

Garrick 

I have always regretted that our quarrel pre- 
vented me from availing myself of your valu- 
able services as an actress. Now that has been 
forgotten I conceived it would not be indeli- 
cate for you to enrol yourself in my company 
at Drury Lane. You would be at liberty to 
play those parts in which you are most 
famous, such as Sir Harry Wildair — 

Peg 

Mr. Garrick, this is the second offer to which I 
have listened tonight. The first one, although 
of a different character, was no less insulting 
than yours — 

Garrick 



Insulting ? 



[150] 



LOVELY PEGGY 



Peg 

Surely, if you had any spark of manhood or 
decency alive in you, you would realize the 
impossibility of what you suggest ! 

Garrick 

Allow me to remind you that the offer is simply 
a business one. My approaching marriage 
with Mademoiselle Violette prevents me from 
making a proposal of another nature. 

Peg 
[Catching hold of the scenery for support.] 
Your marriage ? 

Garrick 
Yes. The affair has only recently been arranged. 

Peg 

[Her anger biasing out suddenly.] 
And yet you come here to fling your insults and 
your marriage in my face ! Of all the despic- 
able, petty creatures on God's earth there is 
none meaner and more loathesome than you! 
The only excuse which you have is that your 
vanity and self-conceit have blinded you to 
everything else. Never dare, as long as either 
of us shall live, to address another word to 
me on any pretext whatsoever! I have heard 
enough of Mr. David Garrick and his affairs! 
[151] 



LOVELY PEGGY 



[As she finishes the above speech, she dashes 
on to the miniature scene to take her cue. 
Garrick stands a second as if stunned and 
then slinks away.] 

Peg 

[As Rosalind — gaily.] 
"God save you, brother." 

[At these words Sir Charles rises in the pit 
and gives a signal. Instantly the theatre is 
in an uproar. There are fiumerous cries 
of ''Off! Off!" and men jump upon the 
benches. Hoots, hisses and catcalls are 
heard and the noise is deafening. Peg 
stands fearlessly, trying to quell the turmoil. 
Rich dashes on to the stage and is greeted 
with jeers. Macklin as Jacques and Quin 
as Duke Senior, also appear from behind 
the scenes and go to Peg's assistance. Wil- 
kinson places himself quietly behind her. 
Several of the gallants, who have been 
standing in the wings, draw their swords 
and come on to the stage. Renewed hisses 
greet their appearance. The audience 
begin to tear up the benches, while fights 
and scuffles are numerous in the pit. Va- 
rious objects are thrown on the stage from 
the galleries. The sound of broken glass is 
heard, as the mob smashes the mirrors 
around the zualls. Cries of "Fire the 
[152] 



LOVELY PEGGY 



house!" "Down with Woffington!" "Off! 
Off!" become more frequent and violent. 
The mob, led by Sir Charles, begin to climb 
upon the stage. They easily beat back the 
gallants with sticks and cudgels. Peg 
alone stands her ground, zvith Wilkinson, 
who does not desert her. Up stage, in one 
corner, there is some sword play going on. 
The mob surges about Peg. Suddenly her 
voice is heard above the din.] 

Peg 
[Imperiously.] 
Back to your benches! Stop! I'll leave the 
stage, since you wish it ! 

[An ugly shout. They fall back from her a 

little.] 
I'll not stay to be a mark for your spite! But 
I'm not afraid of you — no, nor of ten thou- 
sand devils — let alone such curs as you — and 
you — and you I 
[Snaps her fingers in the faces of those nearest 

her. They fall back before her.] 

Have I ever disappointed you? 

[A shout. Some voices, "No!"] 
You're not all hired ruffians, I see! Have I not 

always served you? Have I ever failed to 

appear when my name was billed, — whether 

well or ill? 

[ 153 ] 



LOVELY PEGGY 



[More shouts and clamor.] 

Night after night I've played for you, — it didn't 
matter what I felt here — 

[Touches her bosom.] 

I made you laugh just the same! Is this your 
gratitude? Is this the way you reward the 
public's faithful servant? For years I've 
humored your whims and caprices without 
a murmur, — played what you demanded with- 
out a question. And now you show your 
courage — 

[Clamor.] 

your bravery — 

[Uproar.] 

by attacking a defenceless woman! What do 
you want ? 

[Cries of "Off! Off!"] 

What would you have me do? Do you know 
yourselves ? 

[Renewed cries of "Off! Off!" groans and 
hoots.] 

So be it then! You are the judges. It shall be 
on or off, just as you please. It is a matter of 
indifference to me ! 

[Cries of "Off!" are now mingled with cries 
of "On!"] 

[154] 



LOVELY PEGGY 



I'll wait patiently for you to settle this among 
yourselves. I wish to know if all my years of 
work for you are to meet with this reward ! 

Sir Charles 

[Addressing the mob.] 
Will you permit the Irish jade to blarney you? 

[Cries of 'No I"] 

Then it's off, off! I say! 

[Cheers and shouts and renewed fighting in the 
pit.] 

Peg 

[Pointing at Sir Charles.] 

If you want to know what this all means — ask 
him ! There's the man who can tell you ! He 
talks about Irish blarney, — but I appeal to you 
for British fair play ! 

[Clamor and struggles.] 

Because I resented an insult at his hands tonight, 
he takes this revenge! 

Sir Charles 

It's a lie! Off! Off! The woman's a brazen 
hussy! 

Peg 

[Strides up to Sir Charles and strikes him in 
the face.] 

[155] 



LOVELY PEGGY 



Take that lie back again! 

[A wild cheer of delight at this and shouts of 
"Fair play!" Sir Charles trembling with 
rage lifts his fists against her, hut Wilkin- 
son slips by quickly and suddenly seising 
him, struggles with him to the edge of the 
stage where he throws him heavily into the 
pit. Cheer upon cheer follow this act. 
Cries of ''Peg Woffington!" "Woffington 
forever!" "On! On!" Others fight their 
way to the front and attack Sir Charles and 
his party, thrusting them back. The stage 
is cleared after a rough and tumble tumult. 
Peg Woffington lays one hand on Wilkin- 
son's arm and he stoops and reverently 
kisses her hand.] 

Peg 

[Raises her hand. The storm ceases as if by 
magic] 

My friends ! 

[A cheer which echoes and re-echoes.] 
Will you take me back ? 

[Another roar of approval.] 

Then we'll end it all with an epilogue ! For 
'faith I think you've made Jacques so melan- 
choly tonight he'll never speak again! and as 
for Orlando, I dare wager he's gone home. 
[156] 



LOVELY PEGGY 



[Looks around at the empty stage behind her. 
Wilkinson once more stands behind the 
scenery in the wings. ~\ 

If my costume does not fit the epilogue, it is 
because you gave me little chance to change. 
[Laughter.] 

Will you listen to it as I am? 
[The applause echoes again.] 

That's the music I love best ! 

Peg 

[Begins at this point the epilogue of As You 
Like It.] 

It is not the fashion to see the lady the epilogue, 
but it is no more unhandsome than to see the 
lord the prologue. If it be true that good wine 
needs no bush, 'tis true that a good play needs 
no epilogue ; yet to good wine they do use good 
bushes, and good plays prove the better by the 
help of good epilogues. What a case am I in 
then, that am neither a good epilogue nor can 
not insinuate with you in the behalf of a good 
play ! I am not furnished like a beggar, there- 
fore, to beg will not become me; my way is 
to conjure you, and I'll begin with the women. 
I charge you, O women, for the love you bear 
to men, to like as much of this play as please 
you; and I charge you, O men, for the love 
[157] 



LOVELY PEGGY 



you bear to women, — as I perceive by your 
simpering that none of you hates them, — that 
between you and the women the play may 
please. If I were a woman I would kiss as 
many of you as had beards that pleased me — 

[She begins the above speech briskly but 
falters several times as it progresses. At 
the last words quoted, she staggers and falls 
with a cry. The audience in the pit rise in 
their excitement. Wilkinson rushes to her, 
takes her up in his arms and carries her to 
the wings. Bellamy as Celia, Quin, Mack- 
lin and Rich, who have reappeared from 
behind the scenes right, while the epilogue 
was being spoken, now crowd around her. 
The miniature curtain is hastily lowered 
upon a gruff order from Rich, and the audi- 
ence in the pit sit in awed silence.] 

Wilkinson 

Stand back — give her air! Let a physician be 

summoned ! 

[Bends over her and raises her head.] 
I love you, Peggy! 

[The others look at one another in astonish- 
ment.] 

Peg 

[Opens her eyes and smiles faintly when she 
sees who it is who whispered to her.] 
[158] 



LOVELY PEGGY 



I understand — I understand! I too have known 
what it means to be scorned by the being I 
loved ! Forgive me ! 

[She raises herself up partly with Wilkinson's 
assistance. He kisses her hand passion- 
ately.] 

Peg 

Bellamy, child! 

[Bellamy goes to her and kneels by her weep- 
ing.] 

Bellamy 
I — I am sorry for all the past! 

Peg 

[Caressing her.] 
And I, I might have been kinder to you, child — 
but there, it's over now. 

Peg 

[To the others.] 
My old friends, — we've acted in many a play 
together — and now I've been called for my last 
epilogue — 

Macklin 

No, no, Peggy! It's only a passing faintness — 
the riot — the excitement — 
[159] 



LOVELY PEGGY 



Peg 
[Shakes her head.] 
Macklin — I know — I've only the tag left to 
speak. There's one favor I want to ask — 
before the curtain falls. 

Macklin 
What is it, dear? 

Peg 

You'll tell him how it happened, won't you? 

{Macklin much moved turns away his head.] 

I want him to know. 

{Macklin wipes his eyes and Peg seizes his 
hand.] 

Ah, old friend, it is better to go this way — with 
the last echoes of the applause in my ears ! It 
is better than ever I dared hope! 

{She sinks back in Wilkinson's arms dead, as 
Garrick hurries in from the right. They 
make a warning gesture at him and he 
pauses in silence. Quin strides before the 
miniature curtain and raises his hand for 
silence as he faces the pit.] 

Quin 

{Addressing the audience in the pit.] 

Mrs. Woffington is dead! 
[160] 



LOVELY PEGGY 



[Silently as if awestruck, the audience file out 
of the pit. Wilkinson holds the dead body 
in his arms. Garrick kneels at her feet.] 



SLOW CURTAIN 



The End 



[161] 



NOTES ON ACT I 

These notes are intended merely to indicate the 
principal sources of some of the incidents and anec- 
dotes made use of in this play. Wherever possible, I 
have chosen a historical episode, or scrap of dialogue, 
in preference to a fictitious one. 

October, 1741: the year and month in which Garrick 
made his first London appearance at Goodman's 
Field's Theatre. This was also the year of Peg Woff- 
ington's first metropolitan success. — Covent Garden 
Theatre: built by John Rich in 1731. — The Constant 
Couple: a comedy by George Farquhar, b. 1678, d. 
1707. First acted at Drury Lane in 1699. Peg WoflF- 
ington played the part of Sir Harry Wildair, the lead- 
ing male character in this comedy, for the first time in 
1740. For a description of her acting in this part, 
see Macklin, p. 125. — James Quin: b. 1693, d. 1766. 
An actor of the old school and an opponent of Garrick 
and the new, or naturalistic, school of acting. — George 
Anne Bellamy: h. circa 1731, d. 1788. She was only ten 
years old at the time this play opens, but, as she was 
a rival of Mrs. Wofifington's in later years, it has been 
thought permissible, for dramatic purposes, to intro- 
duce her as a well-known actress at this period. Her 
memoirs are the source of much of- the material used 
in this play. — Quin's acting: see Davies, v. 1, p. 28; 
Wilkinson, v. 4, p. 79 ; J. Gait, v. 1, p. 184 and p. 197.— 
Quin's character: Wilkinson, v. 1, p. 186; Murphy, v. 
1, p. 87. — An impudent Irish faced girl: the phrase 
was used by Conway in a letter to Horace Walpole 
referring to Mrs. Woffington. (See Horace Walpole: 
Letters to Sir Horace Mann.) — Robert Wilks: b. 1665? 
d. 1732. Created the part of Sir Harry Wildair. 
Farquhar attributed the success of his play to Wilks' 
acting. — Mrs. Woffington' s voice: see Wilkinson, v. 1, 

[163] 



LOVELY PEGGY 



p. 25. Also referred to by Bellamy, Lewes, and Mack- 
lin in their memoirs. — Quin's grand pause: see Davies, 
p. 106. It was really Macklin who was most famous 
for a "grand pause," and it was he who once knocked 
a prompter down for interrupting it. — Sir Charles 
Hanbury Williams: b. 1709, d. 1759. Famous for his 
wit and gallantries. He wrote numerous verses to 
Peg WofiSngton. These poems are printed in his com- 
plete works. — The Bedford Coffee House: a famous 
meeting place for the critics, wits, and literary men of 
the day. It stood in Covent Garden. — Quin's advice: 
see J. Gait, v. 1, p. 194.— John Rich: b. 1692, d. 1761. 
He was the first manager to introduce pantomime into 
England and was a noted Harlequin. He was respon- 
sible for Mrs. Woffington's London debut. See Wil- 
kinson for many amusing anecdotes of Rich. — Thomas 
Betterton: b. 1635? d. 1710. The famous actor of the 
Restoration. — Rich as Richard III.: Rich, who was an 
uneducated man with a raucous voice, was particularly 
fond of boasting of his ability in this part. — Rich and 
his quarrels with his actors: see Davies, v. 1, p. 135. — 
Ipswich: Garrick made his first appearance on any 
stage in this town during the summer of 1741. — Gar- 
rick's rejection by Rich: see Murphy, v. 1, p. 20; Bio. 
Dram., v. 1, p. 261. — Garrick and his three quarts of 
vinegar: this epigram on the calling followed by Gar- 
rick before he became an actor was made by Foote. — 
Quin's gruffness: see Wilkinson, v. 1, p. 32; Bellamy, 
v. 1, p. 62. — "The Orphan": by Thomas Otway, b. 1651, 
d. 1685. First acted 1680. Monimia was the chief 
female character. Her woes have made the part pro- 
verbial as a type of suffering innocence. This play 
was much admired by Dr. Johnson. — Rich's treatment 
of manuscripts: see J. Gait, v. 1, p. 193; Molloy's L. of 
W., v. 1, p. 76. — Bellamy's rivalry of Mrs. Woffington: 
see the memoirs of Bellamy, Macklin, and Wilkinson 

[164] 



LOVELY PEGGY 



for details of these greenroom squabbles. — The de- 
scription of Mrs. Woffington: see Wilkinson, v. 1, pp. 
120-121; J. Gait, v. 1, p. 221. — Cox's Museum: a favor- 
ite resort where mechanical wonders were exhibited. 
References to this museum occur in Fanny Burney's 
"Evelina" and Sheridan's "The Rivals." — An orange 
woman: this reference is to an episode in Mrs Woffing- 
ton's early life when she sold oranges in the streets 
of Dublin. Foote burlesqued her at the Haymarket as 
an orange woman to a playhouse. — Tate Wilkinson: 
b. 1739, d. 1803. His own memoirs contain the best 
account of fiis life. His application to Rich for a posi- 
tion on the stage, and Mrs. Woffington's scorn of him, 
for a real or imagined slight, are most graphically told 
in the pages of his reminiscences. It will be noted that 
his introduction is another anticipation of historical 
chronology. — Charles Macklin: b. 1697? d. 1797. His 
memoirs, by Cooke, are an interesting but somewhat 
unreliable biography. Lewes' memoirs contain descrip- 
tions of his person and manners. I have modified the 
harshness of his character in order to contrast him 
with Quin. He and Quin were rivals and once quar- 
reled bitterly, although in public they maintained an 
armed neutrality toward one another. The anecdote 
of posterity and the condemnation of Macklin's play 
is from J. Gait, v. 1, p. 199. — Quin's retort to Woffing- 
ton: this piece of repartee appears, with variations, in 
nearly all the theatrical memoirs of the period. — Gar- 
rick's first meeting with Peg Woffiington: the exact 
date is uncertain, but it is probable that he first became 
acquainted with her at the beginning of, or just before, 
the season of 1741-42. In the summer of 1742 he jour- 
neyed to Dublin with her, where they played at Smock 
Alley Theatre until time to return for the opening of 
the London season. (See Davies and Murphy and the 
contemporary memoirs.) — Oroonoko: by Thomas 

[165] 



LOVELY PEGGY 



Southerne, b. 1660, d. 1746. A dramatization of Mrs. 
Aphra Behn's novel, "The History of Oroonoko." The 
play was first acted in 1696. The part of Aboan, a 
slave, is a secondary one, but offers a good opportu- 
nity to the actor. — The Rival Queens: by Nathaniel 
Lee, b. 1653? d. 1692. The play was first acted in 
1677. — Lothario: the principal male character in 
Nicholas Rowe's (b. 1673, d. 1718) "The Fair Peni- 
tent." The character is that of a libertine and seducer. 
The play was first acted in 1703. — The inserted 
speeches: these are altered, for the purposes of this 
scene, from "The Rival Queens," v. 1. Statira and 
Roxana were the names *of the two rival queens con- 
tending for Alexander's hand. — Macklin's encourage- 
ment of Garrick's acting: see Macklin, p. 97. — Good- 
man's Field's Theatre: built in 1729 and pulled down 
in 1746. Giffard was manager of it. — The verses to 
Mrs. W offing ton: these appear in the Gentleman's 
Magazine, entitled "To Sylvia," and were signed D. G. 
They have also been ascribed to Sir Charles Hanbury 
Williams. Prof. George Pierce Baker, of Harvard, 
has reprinted them in his "Some Unpublished Corre- 
spondence of David Garrick." The latter version has 
an additional stanza not found in the other copies. — 
Pity's akin to love: a quotation from Southerne's 
"Oroonoko." — Garrick's opinion of Mrs. Woffington's 
Sir Harry Wildair: see Button Cook, v. 1, ch. xii. — 
The Recruiting Officer: Farquhar's most successful 
comedy. It was first acted at Drury Lane in 1706. 
The part of Sylvia is the principal female character. 



[166] 



NOTES ON ACT II 

Domestic arrangements in Southampton Street: see 
Macklin, p. 118; Knight, pp. 54 and 57.— The Daily Post 
and The Champion: these quotations are from criti- 
cisms of Garrick's first London appearance as Richard 
III. The notice in the Champion was written by 
Fielding. — A dozen dukes: Knight, p. A2.— Garrick's 
acting and its effect upon the stage: among innumer- 
able references to this, see particularly Lewes, v. 2, 
p. 110; Horace Walpole, Letter to Sir Horace Mann, 
May 26, 1742, and Murphy and Davies, Garrick's 
biographers.— T/ie ring episode: Murphy, v. 1, p. 17. — 
Garrick's avarice: the defenders of Garrick's character 
maintain that his reputation for avarice is undeserved. 
They assure us that, like the mythical Scot, Garrick 
was merely careful with his money. On the other 
hand, the tradition of his parsimony is so often re- 
peated that I have not hesitated to make dramatic use 
of the legend. See also Davies, v. 2, pp. 394-5 ; Murphy, 
v. 2, p. 194; Macklip, p. 144; Boswell, v. 2, pp. 270-1; 
ibid., v. 2, p. 412; ibid., v. 3, pp. 48-9.— T/t^ diamond 
shoe buckles: Macklin, p. 121.— A''o^ for an age: Mol- 
loy's L. of W., V. 1, p. 135. — Johnson's opinion of Gar- 
rick: Boswell, V. 3, p. 98; ibid., v. 2, p. 215; ibid., v. 2, 
p. 118; ibid., v. 1, p. 264; ibid., v. 1, p. 422; ibid., v. 2, 
p. 152; ibid., v. 2, p. 356; ibid., v. 2, p. 446; ibid., v. 3, 
p. 268; ibid., v. 2, p. 256; ibid., v. 1, p. 2,9A.— Twopence 
halfpenny in your pocket: Knight, p. 13; Boswell, v. 1, 
p. 54. — Johnson gives Garrick a lesson in acting: Bos- 
well, V. 1, p. 103. — Johnson in the greenroom: 'Qo?,vit\\, 
V. 1, p. VZS.^Garrick and Johnson's tragedy "Irene": 
Boswell, v. 1, p. 121; Davies, v. 1, p. 11; Murphy, p. 
207. — Where the devil are your actors: Macklin, p. 
100. — Johnson's opinion of actors: Boswell, v. 2, p. 
356; ibid., v. 2, p. 172.— Garrick's epigram on John- 

[167] 



LOVELY PEGGY 



son's Dictionary : Boswell, v. 1, p. 197. The dictionary 
was not published until 1755, hence neither the work 
nor the epigram was in existence at this time. — Gar- 
rick's conversation: Murphy, pp. 197-8. — Macklin on 
critics: Macklin, p. 74; ibid., p. 139. — Garrick's epigram 
on Quin: Murphy, v. 1, pp. 31-2. — Roscius: the name 
was given to Garrick in Dublin while playing the 
summer engagement there with Mrs. Woffington in 
1741. See Murphy, v. 1, p. 39. — Johnson drinks tea 
with Garrick and Mrs. Woffington: Boswell, v. 2, p. 
413. — The song "Lovely Peggy": this song was in- 
cluded in the complete works of Hanbury Williams, 
published in 1822. It has also been ascribed to Garrick, 
particularly by Macklin, p. 116, and Joseph Knight, 
who reprints it entire in his Life of Garrick, p. 54. — 
A Man of the Last Century: this was Macklin's favor- 
ite description of himself. — The wild Irishman: an 
epithet often applied to Macklin. See Macklin, p. 5. — 
The beautiful V.: Mademoiselle Violette whom Gar- 
rick afterwards married. — The guinea that went to the 
devil: it was Foote who made this retort to Garrick. 
See Molloy's L. of W., v. 1, p. 211. — The episode of the 
wig: see Macklin, p. 116. — The quarrel between Gar- 
rick and Mrs. Woffington: see Macklin, p. 119; Wilkin- 
son, v. 1, p. 33; Knight, p. 87ff. — Garrick's character: 
Dibdin, v. 5. p. 102; Lewes, v. 2, p. 104. — Garrick's love 
of fame: Murphy, v. 2, p. 196. 



[168] 



NOTES ON ACT III. 

Garrick's success at Drury Lane: Davies, v. 1, p. 111. 
— Garrick restores Shakespeare to the stage: Davies, 
V. 1, p. 120. — Young gallants in the wings: one of the 
theatrical nuisances of the day was the presence of 
these worthies behind the scenes and even on the stage 
itself. Contemporary memoirs are full of references 
to the annoyance occasioned to both actors and 
audiences by this custom. — Garrick's marriage: an 
extraordinary but wholly untrustworthy account of 
this is to be found in Lewes, v. 2, p. 66. His wife was 
a Viennese dancer, Mademoiselle Violette. — Theatre 
riots: Mrs. Woffington once quelled a riot of a similar 
nature while playing in Dublin. See J. Gait, v. 1, pp. 
187-190. — Mrs. Woffington's collapse: see Wilkinson, v. 
1, p. 117. 



For contemporary biographical sketches of Mrs. 
Woffington, see Lewes, Davies, and Macklin. John 
Hoole, b. 1727, d. 1803, wrote a Monody on the death 
of Mrs. Woffington. Of her power as an actress 
Macklin, Murphy, Dibdin and Wilkinson all have 
much to say. In addition, Charles Reade in his novel 
Peg Woffington, pp. 10-11, has characterized her charm 
and beauty in words which are almost a paraphrase 
of Macklin's. 



[169] 



BIBLIOGRAPHY 

Sources of Lovely Peggy, 

The Life and Adventures of Peg Woffington, 
by Fitzgerald Molloy in 2 vols. London, 1884. 

Peg Woffington, a Novel, by Charles Reade. 
London, 1895. 

Memoirs of the Life of David Garrick, Esq., by 
Thomas Davies, 2 vols. London, 1781. 

Life of David Garrick, by Arthur Murphy, 2 
vols. London, 1801. 

David Garrick, by Joseph Knight, F. S. A. 
London, 1894. 

Garrick and His Circle, by Mrs. Clement Par- 
sons. London, 1906. 

The Lives of the Players, by John Gait, 2 vols. 
London, 1831. 

Some Unpublished Correspondence of David 
Garrick, edited by George Pierce Baker. 
Boston, 1907. 

Memoirs of His Own Life, by Tate Wilkinson, 
4 vols. York, 1790. 

Memoirs of Charles Macklin, Comedian, by 
William Cooke, Esq. London, 1806. 

Memoires de Mistriss Bellamy, traduit par M. 
Thiers. Paris, 1822. 

Memoirs of Charles Lee Lewes, written by him- 
self, 4 vols. London, 1805. 
[171] 



LOVELY PEGGY 



The Life of Samuel Johnson, by James Bos well : 
Edited by Arnold Glover, with an introduction 
by Austin Dobson, 3 vols. London, 1901. 

The Life and Times of Oliver Goldsmith, by 
John Forster, 2 vols. London, 1877. 

Some Account of the English Stage, by Genest. 

A New History of the English Stage, by Percy 
Fitzgerald. London, 1882. 

The Romance of the English Stage, by Percy 
Fitzgerald. London, 1874. 

Annals of the English Stage, by John Doran, 2 
vols. London, 1865. 

In and about Drury Lane, by Dr. John Doran, 
2 vols. London, 1881. 

The History of the Irish Stage, by Hitchcock. 

The Romance of the Irish Stage, by J. Fitzgerald 
Molloy. London, 1897. 

The London Stage, by H. Barton Baker. Lon- 
don, 1889. 

Nichol's Literary Anecdotes (for anecdotes of 
Garrick and Woffington). 

Representative Actors, by W. Clark Russell. 
London, 1872. 

Hours with the Players, by Dutton Cook. 

Actors and Actresses of Great Britain and the 
United States, by Brander Matthew and Law- 
rence Hutton, New York, 1886. (The vol- 
ume entitled: Garrick and his Contempora- 
ries.) 

[172] 



LOVELY PEGGY 



English Actors, by H, Barton Baker, 2 vols. 

New York, 1879. 
Letters of Horace Walpole, 9 vols. London, 

1877. (A few selections only.) 
Horace Walpole, A Memoir, by Austin Dobson. 

New York, 1892. 
Eighteenth Century Vignettes, by Austin Dob- 
son. New York, 1892. 
Evelina, by Frances Burney. 
A Complete History of the English Stage, by 

Charles Dibdin (1745-1814), 5 vols. London, 

1800. 
Sir Charles Hanbury Williams' Works, 3 vols. 

London, 1822. 
Biographia Dramatica (1747-66). London, 1812. 
The Dictionary of National Biography. 
Masks and Faces, a comedy, by Charles Reade 

and Tom Taylor. 
The Constant Couple, by Farquhar. 
The Recruiting Officer, by Farquhar. 
The Fair Penitent, by Rowe. 
Alexander the Great, by Southerne. 
Oroonoko, by Southerne. 

The references to page and volume given in 
the notes refer to the above editions. 



[173] 



One copy del. to Cat. Div. 



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LIBRARY OF CONGRESS 

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